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[ROBERT >L\RK \\ENU:Y 

PKOFESfOR or PMILUIiiFtIV 

GIFT or ttIS I^ILJ>RHX 
TO THE L^ilVPRSITY ClF AU L HI O AN, 






/3c^-0^>c«^v*7i^j2»M.^ <^v.'.^. /'^^'^V^-i' ?»^.y Kx/. :Y'i<K/;y 




CITY OF BIRMINGHAM 



Museum and Art Gallery. 

Illustrated Catalogue 



(WITH DESCRIPTIVE NOTES) 
of the 



Permanent CoUediion 

of 

Paintings arid Sculpture, 

and the 

Piftures in Aston Hall 

and elsewhere. 

Compiled by Whitworth Wallis and Arthur Bensley Chamberlain. 



BIRMINGHAM : 

PRINTED BT HUDSON AND SON, BDMUND STRBBT AND LIVBRY 8TRBBT. 

1904. 



4 



/ 



I 

/ 



PAGE 
V. 

. vii. 

I 

• 159 

• • 175 

• • 179 

• • 195 
■ . .203 

-• . . 225 
-vilptors . 230 



7 

ZfC 

'/oif CITY OF BIRMINGHAM 

MUSEUM AND ART GALLERY. 



Chairman of Museum and School of Art Committee : 
THE RIGHT HON. WILLIAM KENRICK. PC. 

Keeper of the Museum and Art Gallery : 
MR. WHITWORTH WALLIS, F.S.A. 

Assistant Keeper: 
MR. ARTHUR BENSLEY CHAMBERLAIN. 



Hours of Opening. 



MUSEUM AND ART GALLERY: 

MONDAY, TUESDAY, THURSDAY, AND SATURDAY— 
Throughout the year lo till 9. 

WEDNESDAY AND FRIDAY— 

Winter Season (Oct. i to Mar. 15) 10 till 4. 

Summer Season (Mar. 16 to Sept. 30) 10 till 6. 

SUNDAY - 

Throughout the year 2 till 5. 

ASTON HALL: 

WEEK DAYS From 10 a.m. till dusk. 

SUNDAYS— Summer „ 2 p.m. till 5 p.m. 

Winter „ 2 p.m. till 4 p.m. 

ADMISSION FREE. 



UH/\^juj^ .vi.^'i^A*^ 



I o /is ,10 









o 



V 



CONTENTS. 

PAGE 

Prefatory Note v. 

List of Illustrations vii. 

Pictures in the Corporation Art Gallery ... i 
Sculpture in the Corporation Art Gallery . . .159 

Sculpture in the Council House 175 

Pictures in the Council House 179 

Pictures at Lightwoods Park 195 

Pictures in Aston Hall 203 

List of Donors of Pictures and Sculpture. . . 225 

Index to the Names of Painters and Sculptors . 230 



111. 



/>. 



PREFATORY NOTE. 

The City is indebted to the generosity of many donors for the 
whole of the paintings and drawings in the Gallery. The Com- 
mittee is not enabled to make any purchases at the expense of the 
ratepayers, the cost of the Gallery to the City being confined to 
expenses of maintenance. It is inevitable that a collection thus 
representing an aggregate of many individual gifts should be some- 
what miscellaneous in character and less adequately representative 
of the various styles of painting than would have been the case if 
the Committee had been endowed with unlimited funds for 
purchase and unerring judgment in the application of them. 
Some of the deficiencies will doubtless be made good in the 
ordinary course of events by further gifts, but it is thought that 
it may be useful to specify certain directions in which it seems 
specially desirable to strengthen the collection. The Committee 
would heartily welcome fine examples of the eighteenth century 
portrait painters, the landscape artists of the Norwich and Early 
English Schools, early water colours and those of later date, 
works of the English pre-Raphaelite painters, and drawings, 
engravings, and etchings by Italian, Dutch, German, French, 
and English masters. In the event of any intending donors 
wishing to aid in supplying existing deficiencies the Keeper will 
be pleased at all times to confer with them and give any informa- 
tion or assistance he can towards securing the object in view. 



V. 



The important Collection of Drawings and Studies by 
Sir Edward Bume-Jones and Dante Gabriel Rossetti^ with 
single examples of Ford Afadox Brown^ Frederick Sandys, 
and G. P. Boyce—Jive hundred in all— presented in igoj by 
Mr. Cregoe Colmore, Mr, John Feeney, Mr, J, R, Holliday, 
the Rt. Hon, William Kenrick, P,C., and Mr, C. A, Smith- 
Ryland, is not included in this Catalogue, 

(See Special Catalogue, price One Fenny,) 



In the Biographical Notices of the Artists 
R.A. stands for Mender of the Royal Academy, 
A.R.A. „ Associate of the Royal Academy. 

R. W.S. „ Member of the Royal Society of Painters 

in Water-Colours, 
A.R.W.S. „ Associate of the Royal Society of Painters 

in Water-Colours, 
R.I. „ Member of the Royal Institute of Painters 

in Water-Colours, 
R.B.A. „ Member of the Royal Society of British 

Artists, 



The long extract on pages 87 to <5<p, being a description 
of the picture, " The Finding of the Saviour in the Temple,'' 
from Archdeacon Farrars ^^ Life and Work of W, Holman 
Hunt,** which formed " The Art Annual" for iSgj, is reprinted 
in this Catalogue by kind permission of Messrs, Virtue 6^ Co,, 
Limited, 



VI. 



LIST OF ILLUSTRATIONS. 

To face Page 

1. Gipsies, Herefordshire (ii), by J. V. Barber 8 

2. Charity (13), by W. A. Bouguereau 10 

3. The Last of England (17), by Ford Madox Brown ... 14 

4. The Star of Bethlehem (19), by Sir E. Burne-Jones, 

Bart 18 

5. Elijah in the Wilderness (25), by Sir E. Borne-Jones, 

Bart 22 

6. The Nativity (67), by Sir E. Burne-Jones, Bart. ... 32 

7. A Windy Day (114), by C. T. Burt 38 

8. Woodland and Moor (120), by Thomas Collier ... 40 

9. The Reluctant Departure (121), by W. Collins, R.A. ... 42 

10. The Skirts of the Forest (122), by David Cox 44 

11. Waiting for the Ferry: Morning (140), by David Cox 48 

12. Going to the Hayfield (152), by David Cox 50 

13. The Woman of Samaria (165), by William Dyce, R.A. 56 

14. Hayle, from Lelant (166), by Alfred East, A.R.A. ... 58 

15. The Village Philharmonic (170), by Stanhope A. Forbes, 

A.R.A 62 

16. Worms Cathedral (171), by Birket Foster 64 

17. Sir Charles Holte (172), by Thomas Gainsborough, R.A. 66 

18. Cardinal Wolsey (184), by Sir John Gilbert, R.A. ... 70 

19. David Cox (188), by Sir John Watson Gordon, R.A.... 72 

20. John Bright (199), by Frank Holl, R.A 80 

21. Fish from the Dogger Bank (201), by J. C. Hook, R.A. 82 

22. The Long Engagement (204), by Arthur Hughes ... 84 

23. The Two Gentlemen of Verona (208), by W. Holman 

Hunt 86 

24. The Finding of the Saviour in the Temple (209), by 

W. Holman Hunt 88 

vil 



he went to London, and devoted himself to the manufacture of mathemati 
cal instruments, and later on sought to establish himself in Glasgow. 
and about 1757, received the appointment of mathematical instrument mak< 
to the universit>^ of that cit)'. He was refused leave to establish a workshop 
by the borough of Greenock, because he was not a freeman. In 1763, in 
consequence of Professor Anderson having sent him a model of Newcomen's 
steam-engine to repair, Watt began those researches into the properties of 
steam and improvements in machinery which have made his name immortaL 
The first patent of his steam-engine is dated 1769. He joined Matthew 
Boulton, as partner of the Soho Works, Birmingham, 1774- To Watt is 
attributed the invention of the crank and fly wheel, the double-acting 
principle, parallel motion, and the regulating action of the governor. He 
also invented the copying press, a method of warming houses by sti 
and the system of bleaching by chlorine. Died August 19th, 1819. 
above drawing represents Watt*s workroom as it was at the time of his 
deatby in an upper chamber of his residence, Heathfield Hall, Handsworth, 
which estate he had purchased in 1789. In this attic he invented, and 
amused himself. His second wife's dislike to dirt almost developed into 
a monomania; and for peace he partook himself to his garret, where, with^ 
no one to interfere, he might pursue the bent of his inclinations when 
and how he liked. In the little attic, with its low ceiling and small 
windows, everything is stili just as Watt left it. It was nothing unusual^ 
for him to go there, and never leave it, except at bedtime, for sevi 
days at a stretch. The most striking feature of his room is the ingenious 
copying-machine for reducing statuary, etc., which he invented, and never 
ceased to improve. Scattered about are all kinds of statuettes, medal lion s» 
and busts in wood, metal, jet, alabaster, ivory, marble, and plaster of 
Paris, which he had copied upon the machine ; and no doubt the last 
work on which he was engaged is a little unfinished wooden statuette. 
A smaller copying-machine stands in another part of the room. Everything 
which could possibly be of service is to be found in its place. There is 
a stove adapted alike for heating, melting, and cooking purposes. Oii 
one side stands his bucket of coals, and near it, or on the stove, lie hia 
dutch oven and frying pan, his crucibles, solder and iron, and lead ladle, 
all just as he used them last In front of the window is a bench with a foot 
lathe, a vice, and all kinds of tools. On the adjoining shelves are jars 
of acids and chemical preparations. Nothing is more remarkable in the 
old room than the care with which everything is labelled. Each packet, 
however small, is written upon in Watt's large, plain writing. Nearly all 
the tools and apparatus were made by him. On a nail not far from the 
window hangs his well-wom leather apron. Dr. Samuel Smiles gives a 
very vivid description of this room at the close of his biography of Boulton 
and Watt 



eano^^^ 
Th^H 

f his^^ 



ALESSANDRI (Angelo). 

Angel o Alessandri, an artist living in Venice, was 
employed by John Ruskin on many occasions to make 



I 



copies of Venetian pictures, and studies of architectural 
detail. The greater number of these drawings will be found 
in the Ruskin Museum at Sheffield. In the Report of the 
SL Georges Guild for 1885, Ruskin says :^ — ** The anti- 
quarian value of the resolutely complete works by Mr, 
Rooke, and Mr» Alessandri also, cannot be too highly 
estimated for the future, nor at present received with even 
adequate honour and gratitude. Indeed, anything more 
careful, conscientious, and in its manner beautiful, than 
Signor Alessandri*s work for us, both in drawing archi- 
tecture and in copying fresco, cannot be found ; " and ii 
another place he says, ** Mr. Alessandri, in his perfectly 
sympathetic and clear sighted rendering of the qualities of 
different painters, stands alone among the artists whom I 
know, or ever have known." Signor Alessandri has the 
highest admiration for Mr. Ruskin, and confesses that he 
owes nearly everything to him, for having taught him how 
to draw in water-colours, rather than in oils. At the present 
time he is one of the leading authorities on art in Venice, 
and has had, recently, the re-arrangement of the Academy 
there, and other important work of the kind under his 
control. Among his works in the Ruskin Museum are 
copies after Raphael, Carpaccio, Botticelli, Tintoret, and 
Perugino, as well as a number of architectural drawings. 



2. THE TOMB OF THE DOGE MICHELE STENO, VENICE. 

Water-colour drawing, 13 in. higli by tji '"* wide. Painted in 1892. 

Presented by Mrs. Talbot. 

Michele Steno, bom 1331, was elected Doge of Venice in 1400, and 
died in 1415. Under his rule the Venetian general Mala testa conquered 
Vicenza, Belluno, Feltre, Verona, and Padua (1405). In 1408 the republic 
gained possession of Lepanto and Patras, and in 1409 of Guastalla, 
Casalmaggiore and Brescello, so that its powers and dominion were very 
largely increased under Steno. 

His torab is now in the northern aisle of the Church of St John and 
SL Paul, having been removed there from the destroyed Church of the 
Sexvi. Ruskin calls attention to " its remarkable return to the early 
simplicity, the sarcophagus being decorated with only two crosses in 
quatrefails, though it is of the fifteenth centur>% Steno dying in 141 3; and, 
in the second place, to obser\'e the peculiarity of the epitaph, which eulogizes 
Steno as having been " amator justitiae, pacis, et ubertatis " (a lover of 




jysdcei peace and plenty). In the epitaphs of this period, the virtues which 
are made most account of in ptiblic men, are those which were most useful 
to their country." — Stams of Venice^ 111.^ 83. 

3. THE PRINCE OF ENGLAND AND ST. URSULA TAKING 
LEAVE OF HER FATHER, KING MAURUS. 

Water-colour drawing", i ft. 8 in, high by i ft, ij in. wide. 

Presented by the Suhscrihers, 

A copy of part of a picture by Vittore Carpaccio, now in the Academy 
of Fine Arts at Venice. The original picture, which is one of a series of 
eight setting forth the legend of St Ursula, measures 9 ft. by 20 ft It 
is divided into three parts. On the left, Conone, son of Agrippa, the pagan 
king of England, bids farewell to his father. In the centre is represented 
the meeting between Conone and Ursula ; and on the right, the leave-taking 
between them and King Maurus, her father This is the part of the picture 
which is copied in the above drawing. Finally, in the background is 
shown the departure of Conone and Ursula upon their pilgrimage to visit 
the shrines in the holy city of Rome. According to the legend, she and 
her eleven thousand virgins were martyred at Cologne. 

Mr. Ruskin thus describes the legend of the Saint:— "When St. Ursula, 
daughter of Maurus, King of Britain, a just and Christian kingi was bom* 
she was wrapped in a hairy mantle, and so they called her Ursula — 
* Little Bear.' She grew up in grace, loveliness* and wisdom, so that her 
fame was known everywhere. A king of England, a heathen of over-seas, 
set all his heart on having her for daughter and wife to his son iEther. 
But when the Ambassadors came, King Maurus refused for his daughter 
to wed a heathen, and neither prayers nor gifts nor threats could move 
him. Ursula had vowed to live all her life for Christ only, but she prayed 
that if it were His will, she would wed the son of the heathen king if 
she might then turn his heart, and his people's, to Christ. Then she slept» 
and the angel of the Lord appeared, saying ' Ursula, your prayer is heard." 
And answer was made by the Ambassadors to the King of Over-Seas: — 
I St, That the King, the Queen, and their son should be baptized in the 
Holy Faith ; 2nd, For three years' grace before the bridal, that Ursula might 
visit Rome and the Holy Land; Lastly, that he should send ten thousand 
maidens of gentle blood, to follow her in this pilgrimage. 

" So the will of Ursula was done. The King and all his Folk were 
baptized, and ^ther and ten thousand maidens came to the land of Britain. 
So Ursula and all that company set sail in eleven ships, with singing of 
psalms, and all clad in gorgeous apparel, — ^the angel of the Lord ever 
before them as Guide. When they came to Rome, the Pope, Cardinals, 
Bishops, etc., went with them on their pilgrimage until they came to the land 
of Slavonia. Then the Soldan called upon them to deny their God, or they 
should all be slain with the sword. But they all rejoiced to be witnesses 
to His glory, and Ursula and her maidens, iEther, and all who had joined 
them, were slain. They received the martyr's crown and are now singing 
glad songs in Paradise." — Fors Clavigera* Vols. II. and VI. — Ruskin. 
See also Sacred and Legendary Art, Vol. 11. — Mrs. Jameson. 



I 



I\U&K1I1« ^H 



I 



Caipaccio was probably born in Istria, but there are no authentic records 
of his ILfe. He was a younger cootemporary of the Bellini, and may be 
considered the greatest historical painter of the Venetian school. He was 
one of the earliest Venetian oil-painters. It is not known under whom he 
studied, but he was associated with Gentile Bellini in executing the historical 
paintings for the Great Council Hall of the Ducal Palace, From the 
knowledge of Oriental costumes which he displays in some of his works, 
it has been thought possible that he accompanied Geotile to Constanti- 
nople. Among his finest works are the eight St, Ursula pictures. Between 
1502 and 1511 he executed the paintings in San Georgio degli Schiavoni, 
and in 15 10 the grand altar-piece of the " Presentation in the Temple," 
formerly in Bant Giobbe, and now in the Venice Academy, Another very 
fine altar-piece of his, painted in 15 14, is in St Vitale, Venice. 



ALLINGHAM (Mrs.), R.W.S. 

Helen Allingham, eldest child of Alexander Henry 
Paterson, M.D., was born near Burton-on-Trent^ 1848. 
A year later the family went to Altrincham, and, after 
Dr. Paterson's death in 1862, moved to Birming-ham. 
Here she studied in the School of Design, under Mr, 
Raimbach, and in 1867 went to London, residing with her 
aunt, Miss Laura Herford, an artist, who five years pre- 
viously had practically opened the Royal Academy Schools 
to women. Miss Paterson herself entered these schools, 
and afterwards drew on wood for several periodicals, 
becoming one of the regular staff of the Graphic^ and 
furnishing a number of illustrations to novels running in 
the Cornhill Magazine. In the intervals of drawing on 
wood she produced many water-colour drawings. In 1874 
she married Mr. William AUingham, the poet In 1875 
she was elected an Associate of the Royal Society of Painters 
in Water-colours, and a full member in 189 1, A special 
exhibition of her drawings was held at the rooms of the 
Fine Art Society in 1886, 



VALEWOOD FARM. 

Water-colour drawing^, i ft. 5 in. high by i ft* 2} in* wide. 



5. OLD COTTAGES AT PINNER. 

Water-colour drawing, 1 ft, high by i ft, 5 in, wide. 



APPLETON (T. G.). 

6. PORTRAIT OF MARY AMELIA^ COUNTESS OF SALIS- 
BURY : AFTER SIR JOSHUA REYNOLDS. 

Water-colour drawing, 4 ft, i} in* hig^h by 2 ft, 6 m, wide. 

This drawing was made from the original painting by Mr. T. G. Appleton, 
the well-known mezzotint engraver, for his mexzotint of the picture pub- 
lished in 1S9S. 

Lady Mary was the eldest daughter of the Urst Marquis of Down- 
shire. She was bom in 1750, and in 1773 married James Cecil, seventh 
Earl of Salisbury, who was created a marquis in 1789. Lady Salisbury sat 
to Reynolds in 1780 ajid 1781, and the portrait was paid for in 1781, ^200, 
in which year it was exhibited in the Royal Academy, when it was praised 
by Horace Walpole and the Marning Herald. Lady SaJisbur>' sat again 
to Sir Joshua in 1787, evidently for the purpose of having some alterations 
made, particularly in the style of the hair. The earlier engravings of it by 
Valentine Green and S. W. Reynolds show the portrait in its first state, while 
Mr. Appleton's mezzotint shows it as it now is. The original is in the posses- 
sion of the Marquis of Salisbury, (See Messrs. Graves and Cronin*s ^ Hhtory 
of the Works of Sir Joshua Rtynalds:' ) 



AUMONIER (James), RJ. 

James Aumonier, born in LondoOj was for some years 
employed as a designer for printed calicoes by a London 
firm, and during" the years so occupied made use of what- 
ever time he could get in sketching and painting landscapes 
from nature. He worked in the Art Schools at Marlborough 
House and South Kensington, but never studied under any 
artist here or abroad. Although his name is French he is 
a self-taught English painter. In 1876 the Council of the 
Royal Manchester Institution awarded him the Hey wood 
Gold Medal for his picture, ''Toilers of the Field." In 
1887 he was awarded a Medal of the First Order of Merit 
at Melbourne; in 1889a Gold Medal at the Paris Inter- 
national Exhibition ; and in 1897 a Silver Medal at the 
International Exhibition at Brussels* He is a member of 
the Royal Institute of Painters in Water-colours, the Anglo- 
Australian Society of Artists, the Institute of Painters in 
Oil-colours, the Society of British Pastellists, and is ** hors 
concours *' of the Paris Salon des Beaux Arts. 



7. A NOOK IN NATURE'S GARDEN. '^''^ | 
On canvas, 5 (i. high by 2 ft. to in. wide. Painted in 1879. 

8. SUNSET ON THE SUSSEX DOWNS. \^ 
Water-colour drawings, 1 ft. ^\ in. high by t ft. 6 in. wide. 

BAKER (Thomas). 

Thomas Baker, landscape painter, was born on October 
8th, 1809. He studied under J. V* Barber, and practised 
in the Midland CountieSj where he was known as ** Baker 
of Leamington/' and his art was patronized and esteemed. 
He worked both in oils and water-colours with success* 
Between 183 1-1860 he exhibited nineteen works in the Royal 
Academy and at the Free Society of Artists. Died August 
loth, 1864. His pictures are characterized by great fidelity 
to nature, are elaborately painted, and skilful in composition. 
He generally introduced cattle into his landscapes, care- 
fully and artistically drawn and grouped. 

9. BROBSON S BRIDGE^ OFFCHURCHBURY, WARWICKSHIRE, 
Or canvas, i fu 7 in. hig^h by 2, ft. 5 iiu wide. Fainted in 1843. 

Presenied by Sir John C, Holder^ BarL 

BARBER (Joseph). 

Joseph Barber, the son of a publisher and printseller, 
"was born in Newcastle-on-Tyne in 1758, where his father, 
Joseph Barber, an Irishman, had settled. Barber came to 
Birmingham as a designer for a firm oi manufacturers of 
papier-machfi, but eventually gave up this work, and settled 
in the town as an artist and drawing-master. He married, 
in 1781, Elizabeth, daughter of Samuel Power, of Birming- 
ham. From 1801 to 1803 his studio, in which David Cox 
received early instruction in drawing, was in Edmund 
Street, From 1803 until his death in June, 181 1, he was 
living in Newhall Street. He is described as a *' happy, 
bustling fellow,'* and was greatly liked and respected by his 
fellow citizens, who placed a tablet to his memory on the 
■ outside of the wall of St. Paul's Church, Two of his sons, 

L- II L 



Charles, born 1783, and Joseph Vincent, born 1788, earned 
considerable reputation as artists, the former in Liverpool 
and the latter in Birmingham {see below.) His three 
daughters^ Maria^ Eliza, and Ann Matilda, all taught 
drawing, and were flower painters, exhibiting both in Bir- 
mingham and Liverpool. The last-named was the mother 
of Joseph Barber Lightfoot, Bishop of Durham. j 

10. PETERBOROUGH CATHEDRAL : WEST FRONT. I 

LTnBnished water-cotour drawing^, i ft. 2 in. high by 9^ In, wide. ■ 

Presented by the Nephews and Nieces of Miss Jane E. Betrber. 1 

Peterborough is a Norman Cathedral which was begun in 11 17, and 
fronted in 1233 by a grand western facade, 158 feet wide, being a portico of 
three arches of the full height of the cathedral. A gable crowns each arch, 
and the end abutments are carried up as small towers. Other towers rise 
from behind, though some uncertainty exists as to the intended grouping ; 
perhaps a central feature was contemplated. A two-storied porch of the 
fifteenth century^ has been built in the central archway. _ 

BARBER (J. v.). 1 

Joseph Vincent Barber, a landscape painter, born in 1788, 
was principally engaged in Birmingham as a teacher of 
drawing, carrying on the school started by his father, Joseph 
Barber {see above). Among the artists who studied under 
J. V. Barber were T, Creswick, F* H. Henshaw, J. J, Hill^ 
J. Willmore, A,R.A., and Baker, of Leamington, He 
exhibited at the Academy, in 181 2, ** Cattle and Landscape; " 
in 1828, '* Lake Lugano "and '*The Golden Age;'' in 
1829, ** Morning ; '* and in 1S30, '* Evening ' and *^ Gipsies/' 
his last exhibited works. In 1828 he went upon a 
sketching expedition to Switzerland. He made drawings, in 
conjunction with some of our eminent water-colour painters, 
for the Graphic Illustrations of Warwickshire^ published in 
1829. He was one of the local artists who formed the present 
Royal Birmingham Society of Artists in 18 14, and was 
its first honorary secretary. He retired from teaching 
drawing in 1837, and visited Italy in the following yean 
While sketching in the vicinity of Rome, he exposed himself 
to the influence of the ** malaria" of the Pontine Marshes, 
caught fever, and in s pi teof careful nursing by so me monks 

8 




^f^y'*M. 



m 




he died there, on September nth, 1838. He was buried in 
the old cemetery in Rome, but his widow subsequently had 
his body brought to England, and interred in St. Paufs 
churchyard, Birmingham, although there is no visible 
record* A memorial tablet to his father is erected near the 
entrance door of the same church. He was acknowledged 
to be the most successful local teacher of art which Bir- 
mingham had up to that period produced. 

II. GIPSIES, HEREFORDSHIRE. ^^ 

Ofi canvas, 3 ft. 2| in. hig-h by 4 ft. 61 in* wide. Painted in 1829. 
Exhibited at the Royal Academy, 1830. See Illusiratton, 

Permanent Loan from the Council of the Midland Institute^ 

(Fourteen drawings by J, V. Barber^ forming part of the " Graphic 
Illustrations of Warwickshire,^' a permanent loan from the Council of the 
Birmingham and Midland Institute, are also exhibited. See special catalogue 
of " Old Birmingham and Wanvickshire Drawings ^^ price One Penny.) 



BONINGTON (R. P.). 

Richard Parkes Bonington was born in the village of 
Arnold, near Nottingham, October the 25th, i8oi. His 
father, who was a landscape and portrait painter, took 
him, when only fifteen years old, to Paris, and there pro- 
cured him permission to copy in the Louvre. Owing to 
this circumstance, Bonington's education was chiefly French. 
He became a student of the Ecole des Beaux Arts, and 
attended occasionally the studio of the Baron Gros. He 
devoted himself chiefly to landscape painting, working often 
in water-colours. His subjects are mostly marine or river 
views. In 1822 he paid a long visit to Italy, and on his 
return exhibited at the British Institution, and in the next 
year at the Academy, at once gaining a name among his 
countrymen* In 1828, while imprudently sketching in the 
sun in Paris, he was attacked by brain fever, followed by 
rapid consumption, from which he died in London, on 
September 23rd of that yean His art was picturesque and 
dramatic, and his works were marked by great originality 
and a rich feeling for colour. He was a great student of 
the works of Constable. 




12. COAST SCENE. 

Water-cotour drawing , ^ in. high by tsf in. wide. 



BOUGUEREAU (William Adolphe). 

William Adolphe Bouguereau was born at La Rochelle, 
November 30th, 1825. He began life in a business house 
at Bordeaux, but obtained permission to attend the drawing- 
school of M* Alaux for two hours a day. At the end of 
the first year he gained the first prize, and then turned all 
his attention to painting, entering the studio of Picot in 
Paris, and studying in the Ecole des Beaux Arts, He first 
exhibited at the Salon in 1849, and in the following year 
won the Grand Prix de Rome (Histoire), and went to Italy* 
In 1854 he exhibited **The Body of St, Cecilia borne to the 
Catacombs/* At the Salon of 1857, he gained the Medal 
of the First Class. Since that time he has occupied a 
leading position among French artists, and has painted 
many popular and famous pictures. His *'Vierge Con- 
solatrice, '' in the Salon of J 877, was purchased by the 
French Government for 12,000 francs, and is now in the 
Luxembourg Gallery, with two other works by him. In 
1885, he received the Grand Medal of Honour at the 
Salon, and was made a commander of the Legion of 
Honour, having previously been elected a chevalier of it in 
1859^ and an officer in 1876. He has executed a number of 
decorative mural paintings, in various private houses, in 
churches, theatres, and other buildings. He was elected a 
member of the Academy of Fine Arts (I'lnstitut) in 1876, 
He is President of the Association of Artist Painters, 
Architects, Engravers, and Designers, and Vice-President 
of the Soci^te des Artistes Fran^ais. Many of his pictures 
have been engraved by Francois and other well-known 
engravers. 



^^13* 



CHARITY. 

On canvas, 4 fl* high by 5 ft. wide. Sm lilustraiion. 

Presented by Mr. Charles Harding, 



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BREAKSPEARE (W. A.). 

Member of the Royal Society of British Artists and the 

Royal Birmingham Society of Artists. 

14. THE DAUGHTER OF THE HOUSE. L-^ 

On canvas, 3 ft, 54 in. high by t ft, 8^ In. wide. 

Prestnitd by a Geniieman, 




BRETT (John), A.R.A. ^^ 

John Brett, one of the chief upholders of the Pre- 
Raphaelite school in landscape and marine art, was born in 
1830. Though best known for his sea-pieces, he first made 
his reputation as a landscape painter. His ** Stone 
Breaker** (Royal Academy, 1858), was declared by Mr, 
Rusktn to be '* after John Lewis, simply the most perfect 
piece of painting, with respect to touch, in the Academy 
this year ; in some points of precision it goes beyond any- 
thing the Pre-Raphaelites have done yet/' He received 
still greater praise for his '* Val d'Aosta,'* exhibited in the 
Royal Academy in the following year, from this critic, who 
purchased it- The ** Stone Breaker * was exhibited in the 
Birmingham Art Gallery in 1891, and the *' Val d'Aosta *' 
in 1898-99. For more than forty years John Brett con- 
tributed to the Academy Exhibitions a series of admirably 
painted studies of inland and coast scenery. The sapphire 
and turquoise-blue seas of the English Channel and Cornish 
Coast formed one of the most striking characteristics of his 
work. He was elected an Associate of the Royal Academy 
in 1 88 1. In 1886 an exhibition of his works was held in 
London, and in an essay prefixed to the catalogue the 
artist explained his views of art, and of the value of ** finish *' 
in painting. At the Annual Meeting of the National 
Association for the Advancement of Art, held in Birming- 
ham in i8go, he read a paper on '* Education in Art.'* He 
worked throughout the summer out of doors, sketching 
very rapidly, often from the quarter-deck of his yacht, 
without retouching. He was deeply interested in science, 



It 



and the very original dwelling which he built for himself at 
Putney had an astronomical observatory upon the roof. 
He died on January 8th, 1902. 

15. NORTH WEST GALE OFF THE LONGSHIPS LIGHTHOUSE*! 
On canvas, 2 fL ^\ in. hi^h by 6 ft. ct| in, wide. 
PrutnUd by the Trustees of the Public Picture Gallery Fund, 



BRIGGS (H. P.), R.A. 

Henry Perronet Briggs, R.A., was born at Walworth, 
I79i» of a very old Norwich family, and was related to Mrs, 
Opie. He entered as a student of the Royal Academy in 
181 1, In 1814 he exhibited his first portrait in the 
Academy, and four years later began to paint historical 
subjects with success. He w^as elected an A*R*A. in 1825, 
and an R*A* in 1832. Henceforth his talent was so much 
in demand for portraiture that, against his own wishes, he 
abandoned historical painting in favour of that more 
lucrative art. He died in London in 1844, Two of his 
pictures are in the National Gallery and one in Greenwich 
Hospital. 

16. THE CHALLENGE OF RODOMONT TO ROGERO. 
On canvas, 3 ft. 10} in. high by 6 ft. wide. 

Presented by Sir Henry IVi^itt, Bart, 

Rodomont was a King of Algiers, and a commander both of horse and foot 
in the Saracen army sent against Charlemagne. Rogero was a son of 
Rogero and Gallacella, but his mother being slain by King Agolant, he 
was nursed by a lioness. His sister, Marphisa, was a female knight of 
amazing prowess. She was brought up by a magician, but being stolen 
at the age of seven, was sold to the King of Persia. The king assailed 
her honour when she was eighteen, but she slew him, and seized the crown. 
She came to Gaul to join the array of Agramant, but on learning that his 
father, Agolant, had slain her mother, she entered the rival camp of 
Charlemagne, and was baptized. Rogero also deserted from the Moorish 
army to the Christian Charles, He married Bradamant, and was elected 
to the throne of Bulgaria. At his wedding feast, Rodomont rode up in full 
armour to the King of France, and accused Rogero of being a renegade 
and a traitor to his master, King Agramant; whereupon Rogero met him 
in single combat, and slew him. These incidents are described in the 
" Orlando Innamorato " and "* Orlando Furioso *' of the Italian poet Ariostc 
(M74-1533)* 

12 



BROWN (Ford Madox). 

Ford Madox Brown was born at Calais, on April i6th, 
ll8ai. His father, Dr. John Brown, a retired commissary 
in the British Navy, was the son o( Dr. John Brown, of 
1 Edinburgh^ founder of the Brunonian theory of medicine. 
[Madox Brown was educated on the continent, receiving his 
Irst lessons in art at Bruges, from Albert GregoriuS| a 
[portrait painter^ at that time director of the Academy in that 
{city ; and afterwards studying under Van Hanselaer at 
[Ghent ; and at the Antwerp Academy, under Baron 
|Wappers, 1837-39; Paris, 1841-44; and Rome, 1845. 

He first exhibited a picture, called '* Job and his Friends," 
[at the Ghent Gallery, and in 1841 sent a work, entitled 
^**The Giaour's Confession," to the Royal Academy, but it 
I was not until 1844 that he took a decided step as an 
^exhibitor in England, by sending cartoons for the com- 
[petition at Westminster HalL In his twentieth year he 

Tarried his cousin, Elizabeth Bromley. 
[time in Italy, where he had gone in 
[restoring his wife's health ; Mrs. Brown 
in Paris, in 1846, when he returned to England and settled 
lin London, and occasionally exhibited at the Royal 
[Academy, 

In 1848 he was sought out by Dante Gabriel Rossetti, 
[who had seen and greatly admired his early work, with the 
[intention of being received as his pupiL From this meeting 
[dated a life-long friendship. Ford Madox Brown was not 
[enrolled in the Pre-Raphaelite Brotherhood, but his sym- 
[pathies were almost entirely with them, and his own aims 
ind method of work were to a great extent similar to 
Itheirs. 

He says himself, ** Strictly speaking I was not one of 

lem ; I was somewhat older than they at the time, and I 

Fdisavowed certain of their tenets. Before meeting them I 

had already in Paris resolved on a system of individualised 

id truer light and shade— daylight, morning, afternoon, 

indoor and outdoor life, and so forth. About this time 

also I had an attraction towards Holbein, after being once 



He resided for a 
the vain hope of 
unfortunately died 




slightly swayed by Rembrandt. This resulted in my 
sending to the Academy a portrait of a city merchant 
entitled * A Modern Holbein/ which w^as not hung. This 
was in 1846. Later on the frescoes of the Brancacci Chapel 
at Florence confirmed me in my archaism. On my meeting J 
the Pre-Raphaelites in 1848, I shared their feelings for] 
intense and brilliant colour." I 

His principal works are well known. In 1849 he I 
exhibited '* King Lear/' at the Free Exhibition, near I 
Hyde Park ; and in 185 1, at the Royal Academy, he pro-I 
duced his large picture " Chaucer at the Court of Edward! 
HL/' which had been several years in progress. This" 
picture, among those selected by Government for the Paris 
Exhibition of 1855, received the Liverpool prize of ^50 in 
1852. In 1865 he exhibited fifty of his pictures in Piccadilly, 
His famous picture *' Work ' belongs to the Corporation 
of Manchester; and his ** Christ Washing Peter's Feet '* is 
in the National Gallery of British Art, It was the bad 
hanging of this picture at the Academy in 1852 that caused 
him to cease sending pictures there. During the last years 
of his life he was engaged on a very important series of 
frescoes in the Manchester Town Hall, Twenty of his 
pictures, including some of his most important works, were 
exhibited in this Gallery in 1891, on the occasion of the 
loan collection of works of the English Pre-Raphaelite 
School. He died on October nth, 1893. 

THE LAST OF ENGLAND. 

On panel, almost ctrcularf 2 ft. 8^ in. hl^h by 2 ft. 5} in. wide. 
Painted in 1855. Ste Jltusiration, 

This picture was first conceived during a visit to Gravesend, in 185 1, 
whither Madox Brown went to wish God -speed to his friend, Woolner, the 
sculptor, then leaving England for Australia. As Madox Brown's thoughts 
were then turned towards a visit to India, the subject of this picture came 
to him, and the thought was realized in art instead of in fact ; and he 
represented himself and his wife, with their little baby, as emigrants taking 
their last sorrowful look at their native land. The wifes eyes are full of 
tears^ but the man has the determined look of one who will not have life a 
failure wherever duty or fate may lead him. " They are oblivious of the 
turmoil around : nor does the drizzling spray affect the small family, pro- 
tected as they are by umbrella and taq^aulin. Next them, in the back- 
ground, an honest family of the greengrocer kind: father (mother lost), 





THE LAST OF ENGLAND, 

t-'ORD MADOX BROWN, 



) 



I 



eldest daughter, and younger children, make the best of things with tobacco 
pipes, etc. Still further back, a reprobate shakes his fist with curses at 
the land of his birth, as though that were answerable for his want of 
success. His old mother reproves him for his foul mouthed profanity, 
while a boon companion, with flushed countenance, got up in nautical * togs * 
for the voyage, signifies drunken approbation." 

" To insure the peculiar look of light ail rmmd, which objects have on 
a dull day at sea, it was painted for the most part in the open air on dull 
days, and when the flesh was being painted, on cold days* The minuteness 
of detail which would be visible under such conditions of broad daylight, 
the artist thought it necessary to imitate, as bringing the pathos of the 
subject more home to the beholder.'* 

The picture, three years in hand, was finished in 1855. It is generally 
considered to be his masterpiece. In a diar}' which the artist kept between 
1847 and 1856 there are a number of interesting entries about the painting 
of this picture. In one place he says: "At the beginning of '53 I worked 
fnr about six weeks at the picture of Last of England^ Emma coming 
to sit to me, in the most inhuman weather, from Highgate. This work 
representing an out-door scene without sunlight, I painted at it chiefly out 
of doors, when the snow was lying on the ground. The madder ribbons of 
the bonnet took me four weeks to paint," Again : " Set to work on the 
female head of the Emigrant picture from Emma, a complete portrait. 
Scraped out the head of the man because it had cracked all over. This 
is the first time a head has ever served me so — three days' work gone smash 
because of the cursed zinc white I laid over the ground. Settled that I 
would paint the woman in Emma's shepherd-plaid shawl, instead of the 
large blue and green plaid, as in the sketch. Thus is a serious affair 
settled, which has caused me much perplexity.'^ " Worked at the resumed 
coat of the Emij^rant. from the one 1 had made on purpose two winters ago, 
at Hampstead, and have worn since then, it being horrid vulgar. '^ " January 
3rd, 1855 — ^To work by twelve at the fringe of the shawl — finished it by 
one. Triumphantly stripped the lay figure, and set the place somewhat 
to rights, and restored poor Emma her shawl, which she had done without 
the half of the winter. The shawl is at length finished, thank the powers 
above." The above are only a few of the extracts referring to the gradual 
painting of this picture. The following sonnet was written by the painter 
to further illustrate his idea: — 

** The last of Engrland ; o'er the sea, luy dear, 

Our homes to seek amid Australian fields. 

'Tis not the miUion-acred tslaTid Vfelds 
The apace to dwel! in. Thrust out \ Forced to hear 

Low ribaldry from sots, and share rougfh cheer 

With rudely nurtured men. The hope youth builds 

Of fair renown, bartered for that which shields 

Only the back, and half-formed lands that rear 

The du^t-storms blistering' up the g-ras$e« wild. 
There learning- skills not, nor the poets' dream. 
Nor aui^ht we love as children shaH we see**' 

Sbe grips his ristless hand and clasps her child. 
Through rainbow-tears she sees a sunnier gleam, 
Sbe cannot see a void, where kt will be, 

R M. B.. Feb., 1865. 



BUNCE (Kate E.). 

Associate of the Birmingham Royal Society of Artists. 
18. MELODY. 

On canvas, 2 fL 5) in, hig'b by 1 ft. 7) in. wide. 

Prtsented Ay Sir John C Hoider^ Btarf, 



BURNE-JONES (Sir Edward), Bart. 

Edward Coley Burne-Jones was born in Birmingfham, 
on August 28th, 1833, ^^^ father, Edward Richard Jones, 
being of Welsh descent. Neither his parents nor any 
member of his family showed artistic leanings. His father, 
being anxious that he should take orders in the Church of 
England, sent him, at the age of eleven, to King Edward's 
Grammar School, the head-master being Dr. Lee, after- 
wards Bishop of Manchester. In 1852 he won an exhibi- 
tion at Exeter College, and w^ent up to Oxford, there at 
once making the acquaintance of William Morris. This 
was when the Pre-Raphaelite brotherhood was in its first 
bloom. Burne-Jones, seeing a picture by Rossetti, which 
completely captivated him, felt a strong desire to be an 
artist. He left Oxford in 1856, without taking a degree, 
and gave up all idea of the Church. In this year he made 
the acquaintance of Rossetti, and began to learn the rudi- 
ments of his art under hira. He was not actually his pupil, 
but he watched him at his work, and learned from him a 
number of lessons w^hich he put into practice in his earliest 
pictures, such as **The Backgammon Players.'* In 1857 
he joined in the memorable venture, initiated by Rossetti, 
to decorate the walls of the Union Debating Society's 
Room at Oxford with frescoes illustrating the ** Morte 
d'Arthur." Through the inexperience of the artists of the 
proper methods of fresco-painting, the work perished 
almost before it was finished. The subject selected by 
Burne-Jones was *' Nimue and Merlin/' which he after- 
wards treated in two distinct versions, both well known to 
the admirers of his art. Besides Rossetti, the other young 
artists engaged in this work were William Morris, Val 

16 




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Prinsep, Arthur Hughes, Spencer Stanhope, and T* H. 
Pollen, In 1859 he made a first journey to Italy, and in 
1863 accompanied Ruskin to Milan and Venice, where he 
copied for him some of his favourite pictures by Tintoretto* 
He also first drew the critic's attention to the beauties of 
Carpaccio. His first designs for stained glass were made 
for Bradfield College in 1857, and in 1859 he executed 
those for a window in Christ Church Cathedral. 

Throughout his life he was intimately connected with the 
firm of Morris and Co., and produced innumerable designs 
for stained glass and tapestries. In January, 1862, when 
Messrs, Morris, Faulkner, and Co/s preliminary circular 
was sent out, Rossetti wrote to Professor Norton : — **A 
name perhaps new to you on our list — ^but destined to be 
unsurpassed, perhaps unequalled, in fame by any name of 
this generation — is Edward Burne-Jones, He is a painter 
still younger than most of us by a good deal, and who has 
not yet exhibited except at some private places ; but I 
cannot convey to you in words any idea of the exquisite 
beauty of all he does* To me no art I know is so utterly 
delightful, except that of the best Venetians." 

On February 8th, 1854, he was elected an Associate of 
the Royal Society of Painters in Water-Colours, and to the 
exhibition of that year sent four pictures, including '* The 
Merciful Knight." To this early period also belongs the 
important series, *'St. George and the Dragon," which 
some thirty years after, in 1897, gained a gold medal at 
the Munich International Exhibition* For ten or twelve 
years, however, his paintings were known but to a few, 
except when he chanced to exhibit a drawing or two at the 
Old Water-Colour Society's Rooms. It was not until the 
opening of the Grosvenor Gallery, in 1877, that his art was 
revealed to the general public. At this first exhibition he 
exhibited *'The Days of Creation," '*The Mirror of 
Venus," *^The Beguiling of Merlin," and others; and 
all his principal works, during the succeeding years, were 
shown in the Grosvenor Gallery, and afterwards in the 
New Gallery, of which exhibitions his works may be said 
to have struck the note. He had left the Water-Colour 

17 




V 



Society in 1870, owing to a misunderstanding aver his 
picture of *' Phyllis and Demophoon/' to which some of 
the members took exception as being too undraped ; but it 
was not until 1885 that he was elected an Associate of the 
Royal Academy* He only exhibited there once, however, 
in the year of his election, the picture being ** The Depths 
of the Sea," and he resigned his position in 1893. 

He was created a baronet in 1894. He received an 
Honorary Fellowship of Exeter College and the degree of 
D.CX. at Oxford in t88i, and was President of the Royal 
Birmingham Society of Artists 1885 and 1886. He was 
also a Chevalier of the Legion of Honour, a member of the 
Dresden Academy of Fine Arts, corresponding member of 
the Institute of France, and a member of the Saxan 
Academy of Fine Arts, Saxony. In 1888 he was 
re-elected a member of the R.W.S* In i860 he married 
Georgina, daughter of the Rev. G. B. Macdonald, of 
Wolverhampton* He died very suddenly of ang-ina 
pectoris, at his residence, The Grange, North End Road. 
West Kensington, on June i8th, i8g8, leaving one son* 
Philip, who succeeded to the title, and one daughter, Mrs. 
J. W. Mackail. Space does not allow the mention of a 
tithe of the great works of this gifted artist, but his finest 
may be looked upon to be the series of the " Briar Rose,'' 
** Merlin and Vivien," ** King Cophetua," ** The Annun- 
ciation,** *' Chant d'Amour, *' Laus Veneris,'' **The 
Golden Stair," *'The Days of Creation," ^*The Star of 
Bethlehem," which belongs to this Gallery, '* The Wheel 
of Fortune," **The Garden of the Hesperides,'' '* The 
Wine of Circe," ^* Pan and Psyche," many of his designs 
for stained glass windows, including those of St. Philip's 
Church, Birmingham, and his mosaics in the American 
Church at Rome. 

19. THE STAR OF BETHLEHEM. 

Water-colour drawing' on paper, 8 ft. 5 in. hi^h by 12 ft. 8 In. wide. Be^un in 188S 
and finished in 1891* in which year it was exhibited in the New Gallery. S^e 

Illustration. 

This picture is a reproduction slightly altered, and that chiefly in the 
colour scheme, and the more strictly pictorial treatment of details, of the 
tapestry designed by Bume-Jones and executed by Mr. William Morris's 

18 



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firm for Exeter College, Oxford. In the tapestr}^ the wealth of floral decora- 
tion which crowds the foreground was merely suggested in the original 
design, and was worked out by the weavers themselves from Mr, Morris's 
own designs. This water-colour drawing was the outcome of a commission 
given by the Corporation of Binningham in 18S7. It was begun in the 
autunin of 18SS, and finished in the spring of 1891, in time for the annual 
exhibition at the New Gallery. The artist spent almost the whole of i89# 
upon this work and the picture Sfi(^nsa di Libano. 

"It represents the adoration of the Magi ; the figures are life-size. The 
scene chosen is a hilly landscape, the hills sloping with many undulations 
up to the top of the picture. In the higher reaches we see the trunks of 
numerous slender trees, with silver-grey bark. In the foreground of this 
landscape, beneath a thick thatched roof supported by four slender uprights, 
seated on a bundle of straw, is the Virgin with the Divine Child on her 
lap. She is pale of face, with an expression of earnest, intent wonder, 
not so much sad as intently serious, and rapt out of herself by the marvel 
of the situation. The babe is quite nude, half shy and half afraid of the 
magnificent Magi; his little dimpled hands clutch at the blue robes which 
fall over the protecting bosom of the Virgin, but the sense of wonder and 
curiosity impels him to turn his dark lustrous eyes on the vision — ^the«e 
strange visitors that bend before him. Behind stands, leaning forward with 
intent expression on his thin and worn face, the father, Joseph, a bearded 
man with iron*grey hair, clad in a thick woollen robe of green, which he has 
drawn over his head, and which all but conceals an under garment of blue. 
He has been cutting wood, and bears a small bundle under his armj but he 
has cast the axe aside. His eyes are bent on the three Kings, Caspar, Baltha- 
zar, and Melchior, who bow their heads with deep reverence before that 
incarnate mystery to which the star has guided their weary feet. The 
firs! of these is an aged man. His eyes have looked on good and 
ill, and these have had, too, their war in his heart, not always, we judge, 
unequally matched, but good has triumphed. He has loved the right, 
and in his heart has cherished the love of what is beautiful and pure. 
He wears a kind of blue turban shoaling into purple. The robe which 
falls over his lean and sinewy form is bronze-green and blue, falling over 
a richly wrought under garment of deeper and warmer colour. At his fee^ 
lies a gloriously gemmed crown. We could almost think that he had 
prepared this gift anticipating that the Star would lead him to some Shah 
or Sultan, some Prince or King, to whom the delight of the eye and the pride 
of life were all ; but that when the Star stood still over the meek lady and 
that innocent chubby babe» he had cast it aside, feeling how poor and tame 
and common-place was his gift, and fallen back on the homelier offering in 
the little open casket in his hand. Behind him bends a young man with 
soulful face. He has had fair dreams ; he has yet to shape them in art. 
The face is that of a chivalrous Knight — a Sir Galahad — who having seen 
little of the world, yet sees deeply, because his heart is pure. His garments 
are carefully and elaborately studied ; his outer robe covered with medallions. 
The third is a swarthy King, of Nubian cast of features. Do the other 
Kings t)^ Mind and Soul ? Tf so, is this the animal nature of man which 
also shall bow to him ? The coloun of his dress are gayer and richer, and 



v^ 



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the face is less full of soul The foreground is starred with flowers, 
notable amongst them being the White Star of Bethlehem. Between the 
foremost of the Magi and the Holy Family, but more remote from the eye, 
with feet straight down as in the Angel in 'The Annunciation/ is the 
Angel of the Star of Bethlehem, who has led to this shrine the expectaDi 
Kings, His robes are of blue, green, and russet, and his wings of green 
seem almost a part of the landscape* His mission over, will he not melt 
into air and leave those Kings wondering if such a being ever was? The 
religious sentiment is perfectly maintained* and it dignifies the exquisite 
vision/' 

The story of the Star is tnld by only tine of the four biographers of Christ in 
the New Testament, and he says nothing of kings ; they are only ** wise 
men,'- who came from the East to Jerusalem, having seen a star which led 
them until it came and stood over where the young child was with Mary 
his mother; then they "fell down and worshipped him, and when they 
had opened their treasure they presented unto him gifts, gold and frankin- 
cense and myrrh," That is Matthew's story* But Sir Edward has pictoriaJly 
represented the old legend which grew out of this and was an universal 
favourite in medieeval times, the history of the " Three Kings of Cologne/* 
The story runs that twelve of the " greatest rlerkes of astronomy " watched 
from a great hill in India for the star of which Balaam prophesied, and for 
which they had to wait fifteen centuries. When the star came three kings , 
determined to go and see the heavenly stranger, thus miraculously announced* 
These were Melchior King of Nubia, Balthazar, King of Godolie, and 
Jaspar, King of Tarsis. They were all three buried in one tomb in the church 
they had built in Seville, and over it always abode the star, until they were 
translated to Cologne ; and for them " the first of myscreauntes that byleved 
on Christ," was the world-renowned cathedral of Cologne built. Long- 
fellow has introduced these three kings into his miracle play " The Golden 
Legend." | 

20. PYGMAUON AND THE IMAGE: (i.) THE HEART DESIRES. 

On canvaj» 3 ft. 2 in, hig-h by 2 ft 5^ in. wide. The series painted between 1869- 
1879^ and exhibited at the Grosvenor Gallery in the latter year. 

Prtsentid by Mr, John T. Middhrmre, ALP. 

The four pictures representing the story of Pygmalion were suggested by 
William Morris's version, in ** The Earthly Paradise," of Ovid's tale in the 
" Metamorphoses." Pygmalion was a celebrated sculptor of Cyprus, who 
became enamoured with an ivory or marble statue of a maiden which he 
had himself made, and his prayers to Aphrodite were so earnest that the 
goddess consented to breathe life into the work; whereupon Pygmalion 
married her, and became the father of Paphus, who founded the city of that 
name in Cyprus, 

The artist made twelve designs for this story in i867» and painted the 
first of the series, "The Heart Desires," in 1869. He worked upon them 
at intervals during the next ten years, and they were exhibited for the first 
time at the Grosvenor Gallery in 1879. 



30 



ne nrst h 



I *'The first is the idealization of unsatisfied longing for the unknown. 

■ Pygmalion, a tall, dark-haired young man, in a long garment falling in 
I straight folds to his feet, stands bnx)ding on life's emptiness in the vestibule 
H of his house. A sculptured group of the three Graces denotes his profession, 
W and at the same time typifies the cold beauty of artifice, the beauty of the 

mind, while two girls seen through the open door speeding along the street 

_ in the artless embrace of innocent maidenhood, represent the beauty of the 

■ body, and the love that waits his winning* but in neither finds he consola- 

■ tionJ'— Malcolm BelL 

■ 2K PYGMALION AND THE IMAGE: (ii.) THE HAND REFRAINS. N 
H On canvas, ^ ft. 2 in. hig'h by 2 ft. 5! in« wide. 

^^K Presented by Mr, John 7! Middlemore, M.P. 

^^H '* In the second, * The Hand Refrains/ the days of long labour are ended, 
^^^Hid the artistes ideal, the cold pure figure of the yet soulless image stands 
^^^ftiished on the still rough pedestal, surrounded by flakes and chips of 
marble, and implements of the sculptors craft, while Pygmalion, chisel and 
mallet in hand, stays gazing in awe at the marvel his hand has achieved, 
his eyes content, but his soul stili hungering. Outside the window behind 
him, women go about their daily business in the city street, and through 
another casement, in a recess between him and the image, is a glimpse of a 
garden and a spurt of water falling into a marble basin, the constant drop- 
ping that wears away the stone, as his constant prayers shall move the 
goddess Venus to a miracle on his behalf," — Malcolm BelL 

22. PYGMALION AND THE IMAGE: (iii.) THE GODHEAD FIRES. 

On canvas, 3 ft. 2 in, high by 2 ft. 5 J In. wide. 

Presented by Mr. John T. Middhmore, M.P. 

" The third bears the motto, * The Godhead Fires.* Into the sculptor's 
chamber, silent and solitar)% while Pygmalion is away in the temple, floats 
lightly the Queen of Love, clad in a soft transparent robe, flower*crowned 
and bearing a branch of myrtle, emblem of marriage rites, her feet brushed 
and environed by the white wings of her favourite doves. Towards her, 
leaning both arms on one uplifted from the goddess's side, an exquisite piece 
of composition, the awakening image stoops from the carved capital, 
blossom-strewn by the adoring Pygmalion, her eyes raised in awe up to the 
goddess, who with fixed gaze and pointed finger inspires with her the 
Promethean fire of life." — Malcolm BelL 

23. PYGMALION AND THE IMAGE: (iv.) THE SOUL ATTAINS, V 
On canvas, 3 ft. 2 in. high by 2 ft. 5^ in. wide. 

Presented by Mr. John T, Middkmore, M,P, 

" Lastly* 'The Soul Attains.' Heart and soul alike are satisfied. Pygma- 
lion kneels, looking up in trembling worship at the beautiful creature who 
liogeringly yields him her handSt though she still gazes out beyond him in 
dumb amazement at the mystery of consciousness that has suddenly been 
bom in her. Marble no longer, but not yet altogether woman." — Malcolm 
BilL 



1. 




24* CARTOONS (3). BEING DESIGNS, COLOURED IN WAX, FOR 
A STAINED GLASS WINDOW: SUBJECT— "THE LAST 
JUDGMENT/* 

Presented by the Right Hon, Williani Kenrick, P. C , and Mr, James 

R. HoUiday. _ 

On paper 10 A. high by 3 ft. wide. Exhibited at the Grosvecior Gallery 
Winter Exhibition, i88t, 

These are the cartoons made by Sir Edward Bume-Jones for the great 
window in Easthampstead Church, which were drawn in 1874, and C(^oured 
in wax in 1880. 

** The perfection of composition, and the studied use of vacant spaces, 
so valuable in stained glass when well managed, are best seen in the great 
* Judgment * window at Easthampstead. In the centre light of this magnifi- 
cent piece of decoration the stately figure of St Michael stands on a cloud, 
the banner of Christ in one hand, the folds of it forming a background for 
his headt the great scales for the weighing of good and evil in the other. 
Beneath him, giving solidity to the group, three winged angels are seated, 
the middle one of whom» with a stem expression, reads from the wide-open 
book of doom. The angel on his right, symbolic of the sheep that shall be 
set on the right hand of the throne as signs of their salvation, looks on with 
fearless calm, while he on the left^ the side of the goats that are condemned, 
shrinks back in horror, covering his face from the dreadful sights to come. 
The cur\^ed line of the lower part of this mass is carried up in a graceful 
sweep through the lights to the right and left by cloudlets supporting angels, 
two on either side, blowing the great trumpets that summon the souls to 
judgment* The upper portions of these two windows are treated in almost 
horizontal lines defined by the seated figures of saints and prophets, six in 
each, while the upward sweep which forms the leading feature of the com* 
position, and gives such a movement of swift smooth descent to the central 
figure, is intensified below by the figures of the quick, who stand at the 
extreme sides covering their ears, appalled at the strong clamour of the dread 
summons, and by the variously crouching and half risen figures of the dead 
struggling from marble monument or common earth, the awkwardness of 
extreme regularity being averted by a nearly erect female figure starting from 
a carved sarcophagus in the centre. The treatment of the lines, the 
variety of the details, and the apportionment of intricate draperies and simple 
folds, delicate plumage and broad feather masses, and plain surfaces of sky, 
are quite masterly, and combine with the beauty of the individual figures 
to render this one of the painter's finest efforts in this direction,"— ^^r^/m 
Bell .•— " Bume-Jones : a Record and Review." 



35. ELIJAH IN THE WILDERNESS. 

Water-colour drawing on paper, 6 ft iq| in. high by 2 ft. wide. Set lUusiration, 

Presented fy Sir John C Holder, Bart. , and Messrs. John T, Middlemore, 
M.P. , and John Feeney. 



22 




No. 25 fiLIJAH IN THE WILDERNESS. 

SIR t-UnVARD BL'RNE'JONBS, BART. 



<^^ 



Originally a design for a stained glass window, afterwards painted over 
in water-colours, but not quite finished. Full-length figure of the Prophet, 
standing to the front, in red and blue raiment ; his hands are raised up ; and 
he is looking towards the two ravens, who are bearing ears of com in their 
beaks. 



U6, MARS. 

Unfioished watcr*colour drawing on paper, i ft. 8^ in. high by i ft, 7} in. wide. 

The background is architectural The God of War is represented in 
full armour, seated upon floating clouds, below which are seen the stars. He 
lliolds in either hand a blood-stained sword, and a shield which is chained 
■to his breastplate. Between his outstretched legs slouches, grim and horrible, 
this wolf, foe to men, and emblem of harsh cold. On a scroll behind his 
[bead is inscribed " Mars Tenreus ;" a large scorpion is painted on the right. 

This drawing is perhaps an unfinished variation of one of the four designs 
lof T/u Seasons, drawn in red chalk, with very elaborate details, in 1864, in 
Iwhich Spring was represented by Apollo, Summer by Venus, Autumn by 
I Saturn, Winter by Mars. The details of this last are more complete than 
un the above drawing. His shield has a representation of the Gorgon's head 
that freezes men to stone, Aquarius and the Fishes are represented, and 
the Goat. Children below, fully draped, support the inscription " Hyemis 
cordatio," and the landscape is a barren mountain gorge. 
In 1878 the artist also made a series of designs for stained glass windows, 
Iwhich included Mars, Venus, Luna» the Morning and Evening Stars, Saturn, 
phe Earth, etc. The above drawing may possibly be a design for one of 
^hese. 



17. HELEN AT THE BURNING OF TROY. 

Unfinished water-colour drawing on paper, 3 ft. 4^ in. high by i ft. aj in* wide. 

In 1870, the artist began designs for a great triptych, setting forth the 
Story of Troy Town, Although it was never carried out in its original 
entirety, various portions of it, symbolical and illustrative, were executed in 
later years and exhibited under other titles- The design was at first carried 
on with eagerness, At the beginning of 1871, four allegorical figmes for 
the predella were sketched in water-colour upon canvas: Fortune with her 
Wheel, Fame overthrowing Fortune, Oblivion conquering Fame, and Love 
subduing Oblivion ; and another portion, Venus Concordia, was drawn in 
pencil. 

This unfinished drawing is particularly interesting technically, as it reveals 
more obviously than more finished work the artist's methods. According to 
Mr. T, M- Rooke, a red ground was first laid on the paper, over which 
the painting was mainly done in white and raw umber. The warm ground 
colour shines through the pale modelling, brokenly applied, of the figures. 
The composition is crowded with nude figures, of which that of Helen, the 
cause of unnumbered woes, is central. Behind the shuddering and bewil- 
dered crowd the long flames leap and twist and curl like banners in the wind. 

23 



28. THE THKEE GRACES. 

Charcoal study on brown paper^ 4 ft. 5} in. high by a ft. 3I in. wide. 
This is a study made for the unfinished picture of ** Venus Concordia, '^^ 
in the possession of Sir Philip Bume-Jones. As mentioned above, the original 
pencil design for it, made in 1S71, and now belonging to Sir Edward Poynter, 
P,R.A., was intended to form part of the great Triptych of the Fall of Troy, 
which was never completed. The picture represents the Goddess of Lo\'e, 
attended by the Three Graces, seated upon a throne, with groups of happy 
lovers in the background. "The two unfinished pictures, Ffm« Concordia^ and 
Vmm Dtscordia, were enlarged versions of small predellas, originally 
designed for the great picture dealing with the Stor)- of Troy. The many 
small pictures in this large composition had an architectural setting, and if 
it had ever been completed it would have been very unlike any other of 
the painter's works. Its chief interest lies in the fact that it includes in its 
scheme the original design far so many well-known pictures. ' The Feast 
of Peleus/ ' Venus Concordia,' * Venus Discordia,' and * The Wheel of 
Fortune/ besides the unfinished designs for * Fame ' and * Oblivion/ all 
first appeared as subsidiary small pictures in this painting of Troy/' — Philip 
Bume-Jones, 

29. STUDY OF A GIRL'S HEAD, FOR THE PICTURE OF " THE 

SIRENS/' 
Pencil drawing on paper, 19 in. high by \%\ in. wide. Dated 1895. 

Presented by Mr, Arthur S, Dixon. 

The artist made the first design for a contemplated picture to be called 
"The Sirens" in 1870. It was put aside for a number of years, and the 
desi|^n rearranged in 1880- He resumed work upon it in 1892, but though 
nearly finished, the picture never attained actual completion. It represents 
a ship lured among the rocks* on which are the Sirens grouped to the right 
and the left ; in the foreground is the armour of past warriors. It was sold 
after the death of the artist, at the sale of his remaining works, in July, 1898, 
and is now in the possession of Captain Holford, at Dorchester House. 



30. STUDY OF ARMOUR, FOR THE FOURTH PICTURE IN THE 
" PERSEUS " SERIES, 
Water-colour drawing on paper, 14 in. high by 9^ in. wide. Dated 1S81. 

Presented by mi Anonymous Dmwr. 

In 1875-76, the artist designed a series of pictures to illustrate the Story 
of Perseus, which were intended to go round the drawing room in Mr. A. J. 
Balfour's house in Carlton Gardens. The first of these, " The 
Call of Perseus/' was begun in 1877, as was the large 
" Perseus and the Graiae/' " Perseus with the Sea Maidens," 
" Perseus and Medusa/' and ** The Death of Medusa," were begun 
in 1876, and were continued at intervals in succeeding years* 
while " Perseus and Atlas," and " Pegasus," were begun in 1878. These, 

24 



, with the exception of " Perseus and the Graiae/' which was completed in 

1 1 893, were never finished- Of the three pictures begun in the winter of 

[1884-85, " The Baleful Head ' was exhibited at the Grosvenor, in 1887, and 

'' The Rock of Doom '' and " The Doom Fulfilled *' at the first exhibition 

of the New Galler)^ in 1888. These designs underwent much modification in 

Ube course of their development* and s^jme of them were dispensed with 

[altogether. It was originaJly intended to intersperse the oil-painting with 

■ether designs, executed in gilt and silvered gesso, upon a ground of oak. 

The only subject actually carried out in this material was '* Perseus and the 

Jraiae," but the oak and gesso cracked, and it was repainted upon canvas 

[in oil. 



i. (i.) STUDY OF A MANS HEAD FOR THE PICTURE 
"LOVES WAYFARING/' 

Pencil drawing on paper, 6 iiu higii by 6 in. wide. Dated 1876. 
For many years the artist was making designs and studies for a large 
I picture called " Love's Wayfaring/' or " The Triumph of Love/' This im- 
portant work, which is also known as ^* The Car of Love/' was never finished. 
[At the time of his death, although the design was almost completed, but 
llittie progress had been made in the actual painting of the picture. It was 
[esdiibited at the Winter Exhibition of Sir Edward's works at the New Gallery, 
1898^99: (No. 138. "The Triumph of Love.") The canvas is 17 ft. high 
i by 9 ft, wide. It represents Love» standing erect upon a car in front of his 
throne amidst swirling drapery. He is being drawn through a narrow street 
by his numerous victims, men and women. The figures are all life-size. The 
design for it was begun in 1871. but it was not until 1895 that the artist 
[started upon the large canvas. The painting t»f it involved much physical 
t strain, and the ascending and descending of the large scaffolding, specially 
I built for the purpose, was a great tax on the strength of the painter, no 
I longer a young man, 

(ii.) STUDY OF A GIRL'S HEAD. 

Pencil drawing^ on paper, 7! in. high by 5I in* wide. Dated 1880. 

(ill,) STUDY OF A GIRL S HEAD. 

Pencil drawingr on paper, 6| in. high by si i"- wide. Dated 1875- 

Presented fy an Anonymous Don&K 

The followifig six designs were made in 1 888 and i 8Sg for a stained glass 
window in the Town Houses Dundee : — 



52- 



CARTOON: KING ROBERT BRUCE. 

Drawing in black chalk, 4 ft B in. high by 2 fl. 9 in. wide. 

Presented by Mr. John Feenew 



Standing, dressed in chain armour, which is almost covered by a long 
cloak fastened with a large jewels and wearing a helmet with a crown, He 
holds a charter in his right hand and an orb in his left 

H 



S3* CARTOON: DAVID, EARL OF HUNTINGDON. 

Dm wing- tn black chalk, 4 fl. 8 tn. hig-h by 2 R, 9 in* wide. 

Fresented by Mr, John Fumy. 

Standings dressed in chain armour and a short cloak, holding a banner 
and the model of a building in his right hand, and a large shield with a lion 
device in his left, the point resting on the ground. 

54, CARTOON: SIR WILLIAM WALLACE. 

Drawing in black chalk* 4 ft. 8 in. hig-h by J ft. 9 in. wide. 

Fresenied by Mr. John Fumy, 

Standings in chain armour and helmet, holding a long sword in his right 
hand with the f)oint resting on the ground, and a small buckler in his left 

35. CARTOON: PROVOST HALLIBURTON. 

Drawing in black chalky 4 ft. S in. hig-h by 1 ft. 9 in, wide. 

Presented by Mr. John Feemy, 

Standing, dressed in a long cloak or gown, with a long sword over his 
right shoulder, and his helmet placed upon the ground. His left hand rests 
upon the head of one of a group of three small children, 

j6. CARTOON: GEORGE WISHART. 

Drawing in black chalk, 4 fl. 8 in. high by 2 ft. 9 in. wide. 

Presented by Mr* John Feemy, 

Standing, in a long gown trimmed with fur» and holding an open Bible, to 
which he points with a finger. A short sword or dagger is thrust into the 
ground* 

37. CARTOON : QUEEN MARY STUART. 

Drawing in black chalk, 4 ft. 8 tn. higrh by 2 ft. 9 in. wide- 

Presented by Mr. John Feemy, 

Standing, in a striped gown, with head-dress and necklace of pearls, hold* 
ing a Tudor rose in her left hand, and a charter or deed signed by herself in 
her right On the side of the paper the head-dress and arrangement of the 
hair have been drawn over again to a larger scale and showing more detaiL 

38. CARTOON : ST. CECILIA AND ST. DOROTHEA. 
Drawing in Indian ink, partly coloured, 4 ft. lo) in. bigfh by 4 fl. 5! in. isvidc- 

Presented by Mr, C. Fairfax Murray, 

A design for silk embroidery* drawn in i86ij being one of the first designs 
made by the artist for Messrs. Morris and Co. 

St Cecilia was the daughter of a Roman noble, who became a Christian, 
and suffered martyrdom in the 5rd century. She early devoted herself to 

j6 



a religious life» and especUJlT excelled in music When sixteen, her parents 
desired her to mairy Valerian, a rich young noble ; she did so, but converted 
him and induced him to respect her vows of chastity. They were put to 
death by order of Maximius, who, desiring to have the great wealth of 
Cecilia, had her tortured, and sent an executioner to slay her with the 
sword. His hand trembled, and he inflicted three wounds on her neck and 
breast, and in three days she died, sweetly singing. She is patroness of 
music and musicians, and rs generally represented holding the model of an 
organ and a roll of music. 

St. Dorothea suffered martyrdom in the Diocletian persecution, A.D. J03, 
by being beheaded. The legend of this saint is one of the most beautiful in 
Christian mythology. 

** As Dorothea was passing from her judge lo the place of execution. 
Theophilus, the Protonotary, asked her why she would throw away the joys 
of this life for one of which no man was certain ; and she answering that she 
should that day be with her bridegroom in the garden of Paradise, he bade 
her jestingly (as it was February then and snow lay on the ground) to send 
him some of the fruits and roses of that same garden. But after her death, 
as he was returning to the Courts of Law, there met him on the threshold an 
, angel bearing a basket of fruit and flowers, who, saying, * My sister Dorothea 
nds these to thee from the place where she now is,' vanished. Theophtlus, 
ondering all this» came at last to the true belief, and in it died." 
She is generally represented with roses in her hand and 00 her head, or 
rith an angel by her side, carrying a basket of fruit and flowers* 

J9. CARTOON : PETER LED FROM PRISON. 

Drawing in sepia and Indian ink, partly coloured in water-colours, 5 fl« 2} in* high 

by 1 fl. f i| in. wide. 

Presented by Mr. C. Fairfax Murray. 

A design for the stained glass window at Lyndhurst Church in the New 
kPorest, August 26th, 1865. The subject of the design is taken from The 
icts^ xii., 1-9. 
At the top of the cartoon the angel, in an embroidered robe, is opening 
I the door, and leading out Peter. In the centre a sentinel is asleep on the 
[steps, while below, seated by a grated window, the two guards, the broken 
j chains still fastened to their wrist, are also sleeping. 



1 40. CARTOON: THE STONING OF STEPHEN. 

Drawing in sepia, with the patterns on Ihe robes, etc., marked in red chalk, 
5 ft. 2^ in. high by I ft 1 1 1 in wide* 

Presented hy Mr, C. Fairfax Murray. 

Another design for the Lyndhurst window, August 26th, 1865* the 
^subject being taken from Th Ads, vii., 54-60. 

At the top of the cartoon are angels playing harps, and others holding the 
aartyr's crown and robe. In the centre St, Paul and the Pope are seated 
[on each side of the High Priest. At the bottom three men are standing over 
[the Saint, who has fallen to the ground, stoning him. 

27 



41 CARTOON: EUJAH CALLING FIRE FROM HEAVEN TO 

CONVINCE THE PROPHETS OF BAAL, 

Drawing^ in sepia^ with the patterns on the robe^j, etc., marked ifi red chalk* 
5 fi. j4 ia. hig^h by i ft. to m« wide. 

Presented by Mr^ C. Fairfax Murray. 

A third design for the Lyndhurst window, November, 1863, the subject 
being taken from /. Kings, xvnl 

At the top of the cartoon Elijah is kneeling at his altar, and the fire from 
heaven is consuming his sacrifice. In the centre, the priests of Baal, crowned 
with roses, with knives to cut their bodies, and swinging censers, are walking 
round their altar, on which the ox remains unconsumed by fire. At the bottom 
are the kneeling figures of the people. 

42. CARTOON: JOSHUA COMMANDING THE SUN AND MOON 
TO STAND STILL. 

Drawing in sepia, slightly coloured, 5 ft i^ in. high by 1 fl. 10 in. wide. 

Presented by Mr* C Fairfax Murray, 

A fourth design for the Lyndhurst window, November. 1863, the subject 
being taken from Joskua, x., in which it is described how Joshua and the 
Israelites defeated the five kings of the Amorites and their hosts. 

At the top of the cartoon Joshua is kneeling on a hillock, while the sun 
and moon are seen together in the sky above the soldiers' tents. The rest 
of the design is filled with men engaged in a deadly struggle, fighting with 
sword and spear, and trampling on the dead bodies below. 



43. CARTOON: ST. EDITH: QUEEN AND ABBESS. 

Drawing in sepia, outlined in Indian ink, the pat tern «i on the dre!»s in red chalk and 
water-colour, the lilies in background in pencil, 4 ft. ro^ in. high by i ft. wide. 

Presented by Mr, C Fairfax Murray. 

A design for a stained glass window, October loth, 1863. 

The Saint is represented standing crowned, and dressed in a long embroid- 
ered robe, andjiolding a book and a crozier. 

"Editha, or Eadgitha, of the Anglo-Saxon royal family, was the daughter 
of Edward the Elder, and a sister of Athelstan, She was married at Tam- 
worth to Sithric, the Anglo-Danish king of Northumbria, but the marriage 
is said to have been only a nominal one. After his death* or her divorce 
from this ' brutal and irreligious ' prince, she obtained from her brother the 
Castle of Tamworth, and there formed a nunnery, wherein she lived, died, 
and was buried, and was afterwards canonized. It is true that she is not 
at the present time named in the Calendar, but numerous of the Anglo-Saxon 
saints were canonized, not by the Pope, but by the local bishops. Hence 
many attained a very limited reputation ; and after the English was sepa- 
rated from the Roman church, their invocation became frequently disused.*' — 
C. F, Palmer, " The History of the Town and Castle of Tamworth/' 1845. 

28 



44. CARTOON: THE SONG OF SOLOMON,— " The Song of Songs, 
which is Solomon's." 

Drawing in sepia, coloured wilh red, blue, green and yellow cbalksi, 
I ft, iij in. hijjh by i ft. 6^ tn. wide. 

Presented by Mr. C. Fairfax Mwray. 

Five giris m long robes playing upon musical instruments and singing, 
standing against an embattled wall, with blue sky above. 



45. CARTOON: THE SONG OF SOLOMON.—" The best wine for my 
beloved, causing the lips of those that are asleep to speak,'' 
Drawing in sepia, 1 ft. 1 1 in. high by t ft. 7 in. wide. 

Presented by Mr. C, Fairfax Murray* 

Three women, the one on the right working a wine press, and the one in 
the centre holding up her right hand. 

; 46. CARTOON : THE SONG OF SOLOMON.—" I will rise now and 
seek him whom my soul loveth." 

Drawing in sepia, 1 fl. 11 in. high by 1 ft. 7 in. wide. 

Presented by Mr. C. Fairfax Murray, 

The Bride iji Lebanon opening the wooden door of the house, with a 
landscape of trees and flowers seen thn>U|T;h the opening. 

47. CARTOON: THE SONG OF SOLOMON.— ** As the lily among 
thorns, so is my love." 

Drawing in sepia^ coloured with red, blue and green chalksp trefoil head, 
3 fi. 4 in. high by 1 ft. 8 in. wide. 

Presented by Mr. C, Fairfax Murray. 

The Bride, as a cnjwned queen or princess, standing in a fenced garden 
amid trees, with fiowers blooming in the grass. She is gazing at a lily she 
holds in her hand. On the far side of the fence a field of tall white lilies, 
and overhead a dove on a branch. 



48. CARTOON r THE SONG OF SOLOMON.—" The watchmen that 
go about the city found me." 

Drawing in sepia, 1 0. 11) in. I)ip?b by 1 ft. 7I in* wide. 

Presented by Mr, C. Fairfax Murray. 

The Bride, bare-foot ed» reclining on cobblestones by an arched doorway, 
f is roused by a watchman, with his lantern, and mace at his belt, who seizes 
her by the wrist to compel her to rise. In the background some trees riae 
mbove an embattled wall. 



49. CARTOON: THE SONG OF SOLOMON.— " As the apple tree 

among the trees of the wood, so is my beloved among the sons." 

Drawing^ in sepisi, coloured with red, blue and tureen chalks, the patterns of the 
dress in lighter brown, 3 ft. 4 in, by i ft. 8 in. wide. 

Fresentid by Mr, C, Fairfax Murray. 

The Beloved, as a crowned king or prince, in a garden similar to the one 
in the companion cartoon, No. 47. He is represented standing, writing in a 
book ; above him an imprisoned hart. " My beloved is like a roe or a young 
hart: behold, he standeth behind our wall, he looketh forth at the windows, 
shewing himself through the lattice." 

50. CARTOON: THE GIRLHOOD OF THE VIRGIN. 

Drawing in Indian ink and sepia, coloured with chalks and water-colotir, 
3 ft. 2^ (n> high by 2 R. 2| in. wide. 

Presented by Mr C, Fairfax Murray. 

The Virgin, with a lily in her hand, stands in the centre, surrounded by 
foiu" long-robed figures, each with a nimbus, one of whom holds her by the 
left hand ; two of them are pla>4ng musical instruments, and the fourth carries 
a naked child. 

51. CARTOON: THE VIRGIN MARY. 

Drawing- in »epia, with the p*attems on the dress marked in red and yellow, 
3 ft. i4 in. high by i ft. 3 in. wide. 

Presented by Mr, C. Fairfax Murray, 

Figure of the Virgin, standing with a long stalk of lilies in her left hand, 
and a closed book in her right; long hair falling on her shoulders, and wear- 
ing a nimbus with an ornamental design. 

52. CARTOON : THE VIRGIN AND CHILD. 

Drawing^ in sepia, circular. 2 ft. 

Presented by Mr, C Fairfax Murray. 

The Virgin is seated^ with the naked Child standing on her knee, his arms 
outstretched and his hands held by hers ; her head is bent down resting on 
his. 

53. CARTOON: THE CLEANSING OF NAAMAN. 

Pencil drawing, trefoil top, 6 ft. high by t ft. 3 in. wide. 

Presented by Mr. C Fairfax Murray, 

In the centre Naaman, captain of the host of the king of Syria, stands 
dipping himself in the river Jordan, while his soldiers, and attendants 
holding his garment, stand upon the banks, and his chariot b in the back- 
ground. Above and below small ancjels pour water from jars into a fountain 
and the stream. 

3Q 



CARTOON : THE BAPTISM OF CHRIST. 

Pencil drawing^, trefoU top, 6 fL bigti by t ft. 3 10. widfr. 

Fr€stmi€d hy Mr. C. Fairfax Murray. 

A companion window to No. 53. In the centre Christ is standing in the 
rater, receiving baptism from St, John- Six angels stand in attendance, with 
Holy I>ove above. Two small angels at the foot and in the trefoil at top. 

5. CARTOON: KING DAVID. 

Drawing' in sepia, in varying shades, 3 ft. t| in* hig^h by t ft. y in. wide. 

PresmStd hy Mr, C. Fairfax Murray 

David stands, crowned, with a large robe or cloak over his chain armour ; 
Fbe is playing on a small harp, and a dove is perched on his right shoulder 

S. CARTOON: ST. MARK. 

Drawing in sepia and Indian ink, 3 ft, 1 1 in, hig^h hy 1 ft. 3 in. wide. 

FrtstHted by Mr. C. Fairfax Murray. 

Standing figure, with a winged Hon in his right hand. 

7. CARTOON : ST. LUKE. 

Drawing in black chatk, 4 (I. 8| in. high by t ft. 7^ in, wide. 

PresenUd by Mr, C* Fairfax Murray, 

Standing figure, holding a brush in his right hand, and an open book of 
[illuminations in his left. 

CARTOON: ST. LUKE. 
Drawing in black chalk, slightly tinted, 3 ft. 1 ^ tn. by 1 ft. }} in. wide. 

PresenUd by Mr. C. Fairfax Murray. 

Standing figure, bare footed, holding an open book in his right hand, from 
which he is reading, and a small painting of the Virgin and Child in his 
left. 

59. CARTOON : TWO ANGELS. 

Drawing in sepia, the patterns on the dresses, etc.» in coloured chalks, 
4 ft. 10 in. high by i fU 6| in. wide. 

Presented by Mr, C. Fairfax Murray. 

Two angels in richly brocaded robes, and holding draperies, walking 
Jowards the right 

. CARTOON: THE FLIGHT INTO EGYPT— ANGELS LEADING 
THE WAV. 

Drawing in septa, flesh tints, hair and foliage in coloured chalks, trefoil head, 
2 ft. 74 in. high by 2 ft. 2^ in. wide. 

Presented by Mr. C. Fairfax Murray. 



Three sinneh walking towardt the )eft thfoofh ^ fandaeipe^ tb 
one n ' ' *»ibe8» dieoneinibeceBiiKcaiiTi^Kal 

on a oldifig anoihcr laniBii n tlial die Bgin fmUs 

on the gfounrl , a smai) i]>ing ang^el in clie trefolL 

it. CAKTOON : THE FLIGHT IMTO EGYFT. 

Dr»win^ .n •u^w, trefoil is«$MS, J It. 7| iiiu hig:$i bjr J fiu a^ i«* «rkta. 

Prcsatud ky Mr, C. Fmrfax Murray. 

Jni&ephr RJ^i^T^g mtently ahead, \% leading the ass, upon vtbirh Maiy rideSi 
holding the 8tee|>ing Child in her arms ; an anget in the trefoiL 

^, rAPTr*ON: THE BUILDING OF THE ARK, 

T>fnvt\n% ill nepidr <^ircular^ j ft. ^m. 

PrtSiM^d by Mr, C Fturfax Murray. 

Niiah, wHh a small model of fhe ark uprm his knees, is seated at a table, 
and it making measufements ut\ a plan with a pair of compasses^ while one 
of hi'^ mdi hy him with a plank. Three people, two of them crowned 

wuh f*jB, lean over the WD^nlwork, laughing at his labours. 

6 J. CARTOON : THE BUILDING OF THE TEMPLE. 
Draw^fig in sepia, circular, f ft. 9 in. 

Pratntid by Air, C, Fairfax Murray. 

Three mf^n, dressed partly in chain mail, are on the top of a wall» one 
hnldtng a plan of the building, and another placing a stone in position by 
means t»f a rhatn and (iiillpy. Down below a procession of singing youths, 
with various musiral rnstnmients, is passing. 

64, CARTOON: MAJESTY. 

tirawltig in nt^pitif |miH« of the itre<t<ies coloured with red and blue chalkS| 
fiJjcfoi), 3R. 1 in. 

Preifftttri by Mr. C, Fmrfax Murray, 

In the eentrv is sealed \Um\ the Father, crowneiJ, his right hand upraised, 
his left holding a globe on his knee, ami surrounded by seven angels, singing 
and pla\b\g «t^>n tnusical instniittenta* 

tlj, f ARTOON: VIRGIN AND CHILD 

IVnwtflfi tn wufkk and walisr col<>ur«, 4 fl. 3 in. higk hy 1 H, 5I !■> vrid^ 

Prtse^Hi by Mr, C Fairf«t Murray. 

tlie Vitpn itatftds Ic^oking down at the Chihi she bokK ^»ho Ikit \m arms 
voMd hfT n^ck, 

66, CARTOON: TH!- MAGDALEN AKOtXTlNG CHWSrS Fl 
Dvnwifif: In *vTpp* Attd t<^d fmcil, t ft* 7 in h^ hy \ h. 1 1 in. m 

PrmmiJ by Mr, C. Fm^ax Mmrray, 




No. 67- 



thp: nativity 

SIR EOWAUD BLRKE-JOSESL 






Chnst is seated on Uie nghu in fjoni of the tabJe, with the MagfdaJeo 
kneeling before him. and wiprng his feet with her long hair. On the othif 
side sits Simon the Pharisee, wearing a heavy gold chain and hadgr^, with 
Sl John next to him, and Judas behmd Christ. Two serring maids willl 
di^es stand at the back. 

A ntimber of directions in pencil ane written tipon it* such as " Nimbiia 
zichlj pattened,"' '* Judas with a biack nimbus and ranots," and so on. 

67. CAKTOON : THE KATmTY, 

Drawiiig^ in sepia, coloured wHb cluitks, 1 fl. 7 m. hig'h by 1 A. b ifi, wtd«, 

PmenUd hy Mr. C Fairfax Murray^ 

The Virgin, on a low bed, is leaning on her elhow and gawng at the iThild^ 
while Joseph kneels at the head. Twf» shepherds, with an ox and a sheep* 
knee) on the right in adoration, and have f placed on the ground a basket of 
e;ggs aa an offering. Two dox-es rest on the woodwork behind, and above 
them two richly clad angels are singing and playing musical insttoiMlflSt and 
behind them the deep bltjc sky is studded with stars. 

68. CARTOON: ADAM. 

Drawing in Indian ink and sepia» 1 fl. toi in. hi^ bj it| in. wide, 

PrestnM ky Mr. C Fmrfax Mmr^y. 



6^. CARTOON: EVE. 

DrawioS in Indian ink and se^Aa, t ft, lol in, high by 1 1) in* wide. 

Presented t) Mr, C- Fairfax Murrmy. 

" The first commissions that Bume> Jones obtjuned, and almost the fint 
works that he produced, were cartoons for stained glass windows, drawn and 
coloured in 1857, for Messrs, Powell, of WhitefriaiSj who, when their atten* 
tion bad been drawn to the young artist by R<^ssetti, had the penetration to 
perceive his still latent taJents, and to give them employment. Three of these 
cartoons were executed, Adam and Eve, The Tmvcr of Babel, and King 
Saimnmamd the Queen of Sheha, and aie now in the dining hall of St. Andrew'l 
College, Bradfield, Berkshire/— Af^c<?/iw Bell 



70 to 74. FrVTE CARTOONS: ANGELS PLAYING BELLS. 

Drawings in Indian ink, touched with sepia, circular, each ad. 1 1| in. 
in diameter I some not completed. 

Presented by Mr. C. Fairfax Murray, 



75 to 80. SIX CARTOONS: ANGELS PLAYING BELLS. 

Drawin^a in pencil, some with Indian ink leadlines, and one with m red 
backgroond, circular, each 6 In. in diameter. 

Presented by Mr. C. Fatrfax Murrav. 

33 




ic. OUtTOCMC: ANGEL PLAYING OflT PIPESi. 

npanvinilf in Ciidiaa iakaadM|par c ft- m io*. Im^ hgr c Al^^ 

fc. CARTOON : ANGEL BLOWING A HO&N. 

Dvacfpn^ is locfiaa iafc and iiyju, c ft. co is. iis^ ky^ i ft. 7I ia. vMb. 

FmgmUd kf Mr. C Fjvf» JCv^ai . 

$3. CARTOON : ANGEL HOLDING THE MOON. 



Drmwnii^kiIflcfiaaiBfea«iMpia,theiKe^li^^Tt^^^ i»iikk%k 

FratmUd ky Mr, C Fmrfmx Mmrmy, 

$4. CARTOON: THE BAPTISM OF CHRIST. 

Dmmmg m lead pcncS, 1 ft 9) Ibl kick bjr i ft. 6| Ibl wide^ 

FresemUd ky Mr, C Fmrfmx Mmrrmy, 

•5, CARTOON: CHAUCER'S "DREAM OF GOOD WOMEN"— 
FIGURE OF CHAUCER. 

Drawing in lend pencil^ i ft. 5 in. liigli by- 1 ft. 5 in. wide^ 

PresaUid kj Mr. C. Fmrfmx Mmrray. 

56. CARTOON: CHAUCER'S "DREAM OF GOOD WOMEN"— 
THISBE AND PHILOMELA. 

Drawings in lend pencil^ i ft. 4 in. high bjr i ft. 4 in. wide. 

FresenUd ky Mr. C Fmrfmx Mmrray. 

»7, CARTOON: CHAUCER'S "DREAM OF GOOD WOMEN"— 
PHYLLIS AND HYPERMNESTRA. 

Drnwtng in lead pencil and sepia, i ft. 5 in. hig^ b j i ft. 4I in. wide. 

Presented ky Mr. C. Fairfax Murray. 

88. CARTOON: CHAUCER'S "DREAM OF GOOD WOMEN"— 

AMOR AND ALCESTE. 
Drawing in lead pencil and sepia, i ft. 6| in. high by i ft. 61 in. wide. 

Presented by Mr. C. Fairfax Murray. 

89. CARTOON: CHAUCER'S "DREAM OF GOOD WOMEN"— 

HYPSIPHILE AND MEDEA. 
Drawing In lead pencil and sepia, i ft. 4! in. high by 1 ft. 5] in. wide. 

Presented by Mr. C. Fairfax Murray. 

34 



L 



CARTOON: CHAUCER'S ** DREAM OF GOOD WOMEN"— 
DIDO AND CLEOPATRA. 
Drawing in lead pencil and sepia, i ft. 4^ in, high by 1 ft 6 in* wide. 

Presented by Mr. C- Fairfax Murray. 



9^. 



92. 



CARTOON: CHAUCER S "DREAM OF GOOD WOMEN"— 

I ARIADNE AND LUCRETIA. 

Drawing in pencil and sepia, i ft. 4^ in. high by i ft. 5i in. wide. 
Fresenied by Mr, C. Fairfax Murray. 
The seven above designs, taken from Chaucer, were designed in 1864, 
far a stained glass window in Peterhouse, Cambridge* 
; 
i: 



FOUR SMALL CARTOONS: CIL\UCER'S HEROINES. 
Drawings in lead pencil, heads in looall circles, each 6 in. in diameter* 

FresenUd by Mr. C. Fairfax Murray. 



93. CARTOON: KING RENE'S HONEYMOON. 

Drawing in Indian ink, lead pencil, and coloured chsdks, t ft 2) in. high 
by t ft. 8| in. wide. 

Fresenied by Mr. C* Fairfax Murray, 

A design for a painted panel for a cabinet, for Mn William Bulges, the 
architect, commissioned about 1861 by William Morris. "Ford Madox 
Brown, Rossetti, and Bume- Jones were all enlisted to supply a panel each, 
the subject in all cases to be some imagined incident in the honeymoon 
of that strange mortal, King Ren^ of Anjou, the monarch of song and 
mirth, whom Sir Walter Scott has popularized in *' Anne of GeierBtein." 
All three painters produced replicas of their works, and all three pictures 
are curiously typical of their designers* methods and modes of thought, in 
spite of a general uniformity of effect necessary to bind them harmoniously 
into one decorative entity. In Madox Brown's, the king sits stiffly upright, 
so absoibed in the elevation of a palace, which lies on the floor at his feet, 
that he is ahxv>$t unheeding of the kiss which his wife presses on his cheek. 
Rossetti's king stops in his music to join his wife in a long passionate 
embrace. King Ren^, as Bume-Jones imagined him. sits in a deep red robe 
painting on the wall a row of saints against a golden background, too much 
occupied with his work to notice the young wife who stands in a long green 
robe behind him, looking over his shoulders in rapt admiration of his skill." 
— Malcolm Bell, 

This design for the panel differs from the replica mentioned above, aa 
here the king is at work upon a statue. 

CARTOON: THE LAST SUPPER: DESIGN FOR TILES. 
Drawing in lead pencil, itl in. high by f h. 2 in. wide. 

Presented by Mr, C* Fairfax Murray, 

as 




95. CARTOON: MAJESTY. 

Drawii^ in Indian ink and lepia, drcolar, i It 84 in. in tfianieter. 

Presented by Mr, C. Fmrfmn Mwrray. 



^. CARTOON: MAJESTY. 

TresenUd by Mr. C. Fmrfax Mwrruy. 



Drawing in Indian ink and lepiat with sfi^ltt toocbes of cc^oor, circolar, 
I ft. 7i in. in cfiamcter. 



97. CARTOON: MAJESTY. 

Drawing in Indian ink and aepia, qoatrefoil, i ft. 7 in. h^ bj i ft. 4 in. wide. 

TresenUd by Mr, C Fmrfax Murrmy. 

9S. CARTOON: THE NATIVITY. 

Drawing in lead pencil, with slight touches of cokmr, i ft. 6} in. high 
by I ft. 1 1) in. wide. 

Presented by Mr. C. Fairfax Murray, 
Probably a copy after Bume-Jones, by some other hand. 

99. CARTOON: THE RESURRECTION. 

Drawing in Indian ink, 2 ft. 5in. hig^ by 1 ft. 6 in. wide. 

Presented by Mr. C. Fairfax Murray. 

This cartoon represents the window as finally carried out (See No. 100.) 

100. CARTOON: THE RESURRECTION. 

Drawing in Indian ink, 2 ft. 5 in. high by 1 ft. 6 in. wide. 

Presented by Mr. C. Fairfax Murrmy. 

This cartoon represents the upper portion as originally designed, but not 
carried out 

loi. CARTOON: A SERAPH. 

Drawing in Indian ink and sepia, 3 ft. 6 in. high by 8 in. wide. 

Presented by Mr. C Fairfax Murray. 



loa. CARTOON: ST. ALBAN. 

Presented by Mr. C. Fairfax Murray. 



Drawing in Indian ink and sepia, the pattern of the dress indicated in red cbalk» 
3 ft. 6 in. high, by i ft. 2 in. wide. 



103. CARTOON t ST. STEPHEN. 

Drawing- in Indian ink and sepia, the patterns of the dress indicated in red 
chatkf 3 ft. 6tn. high by i ft< 3 in. wide. 

Presented by Mr. C* Fairfax Murray. 

TWO CARTOONS: ST. PETER AND ST. PAUL. 

Drawings in Indian tnkp with haios in red, two small heads in circles, 
each 6| in. in diameter. 

FresenUd by Mr. C- Fairfax Murray, 

105. CARTOON: THE WORSHIP OF THE GOLDEN CALF, 
Drawing in lead pencil, t ft. 9 in. high by a It. t in. wide. 

FresenUd by Mr. C. Fairfax Murray, 

io6. CARTOON : THE SONG OF SOLOMON—" It is the voice of my 
Beloved that knocketh." 

Drawing in lead pencil, Indian ink, and sepia, 2 ft. 11 in. high by t It. 7 in. wide. 

Presented by Mr. C. Fairfax Murray. 

107. CARTOON: THE SONG OF SOLOMON— « Return, return, O 
Shulamite I" 

Drawing in tead pencil^ Indian ink, and sepia, 1 ft. 11 in. high by i ft. 7 in. wide. 

Presented by Mr, C. Fairfax Murray. 

THREE CARTOONS: CHRIST BLESSING LITTLE CHIL- 
DREN : THREE DIVISIONS OF A WINDOW. 

Centre panel, drawing in Indian ink, 2 ft. 2} in. high by i ft. 7 in. wide ; side panels^, 
in Indian ink and water-colours, i ft. q\ in. nigh by ia| in. wide. 

Presented by Mr. C. Fairfax Murray. 

CARTOON: TWO ANGELS PLAYING HARPS. 
Drawing in lead penctl, Indian ink, and sepia, 3 ft. 5 in^ high by i ft. S) in. wide. 

Presented by Mr. C. Fairfax Murray. 

10. CARTOON: TWO ANGELS PLAYING SMALL ORGANS. 
Drawing in lead pencil and Indian ink, 3 ft. 5 in* high by 1 ft. S| in. wide. 

Presented by Mr. C* Fairfax Murray. 

CARTOON: TWO ANGELS. 
Drawing in Indian ink and sepia, 2 ft. 11 in. high by i ft. 2k >^* wide. 

Presented by Mr. C. Fairfax Murray. 
This cartoon is a copy after Bume-Jones, probably by Mr. Philip Webb. 

37 



BURT (Charles Thomas). 

Charles Thomas Burt, sixth son of the late Mr. William 
Burt, a Birraingham merchant, was born at 58 Hagley 
Road, Edgbaston, March 26th, 1823, and was educated at 
Hazelwood School, where he first acquired a taste for art. 
At the age of 15 he began to take lessons in painting, and 
two years later exhibited a picture at the Birmingham 
Royal Society of Artists, On leaving school he entered 
his father^s business for several years, but devoted all his 
spare time to painting. He owed much of the success of 
his career to the tuition and friendship of David Cox< No 
Art Schools were then available in the Midlands, so that he 
worked constantly from nature. At the age of 21 he 
received his first commission. He first exhibited at the 
Royal Academy '* A Sailor's Wedding,'' followed by a large 
picture, *'The Snowdon Range from Harlech Sands," and 
** Mountain Mists," and from that time exhibited many 
landscapes in the Royal Academy, and at Birmingham and 
elsewhere. In early life he devoted much time to athletics, 
especially cricket, and was well-known as a volunteer and 
crack shot- In 1864 he was selected to shoot in the English 
International Team, and continued a member of it until 
1880. In 1882 he was elected Captain of the English 
Twenty, In 1895 an exhibition of his pictures was held at 
Messrs. Graves and Co/s Gallery in Pall MalL He was a 
member of the Birmingham Royal Society of Artists, where 
a collection of his pictures was exhibited in 1902, shortly 
after his death, which took place in January of that year. 
Among his pupils may be mentioned Douglas Adams, the 
well-known painter of sporting landscapes. 



112. THE EDGE HILLS. FROM BURTON DASSET, WARWICK- 
SHIRE. 

On canvas, a ft. 7 in. high by 3 ft, 11 in. wide* 

Presented by Mr. R. JL Chance. 



\ 113. THE GIPSY ENCAMPMENT. 
/ \ On canvas, 4 ft, big^h by 2 ft, 1 1^ in. 

r* Presented by the Executors of 



wide. Painted In 1855. 
>fDr, Edwin 71 Griffiths, J, 



38 





114- A WINDY DAY: CROSSING THE STREAM. 
On canvas, i ft. io| m. bigh by 4 ft 6 in. wide. Painted in 185^ Sf9 iUm$ imHm* 

Presented fy Mr. / Pahmr PhtUi^, 

115. GOING TO MARKET. 

On canvas, j f t, 2^ in, high by 3 fl. wide. Undated. 

Prtsented by Mr. / Palmer PkUHps. 



116. HOUSE AT HARBORNE. FROM THE FIELDS, 

On canvas, 9} in. ht^b by 1 ft. i^ in. wide. Painted in t845» 
^^^1 Presented by Mr, J. Palmer Phillips* 

H CALVERT (Edward). 

1^ Edward Calvert was born at Appledore^ in Devbnshire, 
i on September 20th, 1799. His father, Roland Calvert, 
who had been in the army, died when the boy was 
twelve. He entered the navy at an early age, and served 
as a midshipman under Sir Charles Penrose, and saw some 
active service. He soon, however, abandoned the sea for 
art. He studied under James Ball and Ambrose B, Johns, 
a landscape artist of repute in Plymouth and throughout 
Devonshire, He married when young, and moved to 
London, where he studied in the Royal Academy 
Schools. He made the acquaintance of William Blake, 
whose designs had great influence upon Calvert's art, and 
became one of a small band of artists, among whom were 
John Linnell, Samuel Palmer, and George Richmond, who 
regarded Blake as their chief, Calvert's first exhibited 
picture was ** A Shepherdess," in the Royal Academy, 
1827, which was much admired. In 1829 he exhibited 
** Morning " at the Society of British Artists, and another 
poetic landscape of the same title at the Academy in 1832, 
and a third in 1835, His last contribution was in 1836, 
the subject illustrating Milton's *' Eve." He worked as 
a draughtsman on wood, and produced a number of wood- 
cuts and plates of great beauty, many of them privately 
printed by himself. He was very fastidious, and always 
dissatisfied with his work, and he constantly destroyed 



y 




39 



blocks and plates, so that impressions of them are now 
scarce. He was greatly attracted by Greek art, and so 
visited Greece, bringing back many studies. Among his 
intimate friends were Derwent Coleridge and Francis 
Oliver Finch, the landscape painter. He died in London 
on July 14th, 1883, in his eighty-fourth year. 

117. ULYSSES AND THE SIRENS. 

On canvas, jf in. by t ^. 3| in« btg-li. 
PrestnUd by the Trustees of the Pubtu Picture G^lery Fund, 

Llyt«eSp King uf Ithaca^ after the Trojan War, embarked on board his 
ibtpt to return to Greece, but was exposed to a number of misforumes 
before he reached his native country. One of these adventures was when 
pasjiing the island of the Sirens, sea nymphs, who charmed so much with 
their raelodous voice, that all who heard abandoned everything to listen, 
and at last died for want of food. Utysses, having been warned of tlieir 
power by Circe, stopped the ears of his companions with wax, and ordered 
himself to be tied to the mast of the ship, and no attention to be paid to 
his commands, should he wish to stay and listen to their song. When they 
drew near to the island Ulysses made signs for his companions to stop, 
but they were disregarded, and the fatal coast was passed with safety. 
The oracle had informed the Sirens that as soon as anyone passed by them 
uncharmed by their songs they should perish ; and so, in despair of this 
artifice of Clysses. they threw themselves into the sea. 

It a* PAN AND PITH YS. 

On mill-board, loj in- high by i ft. 3 in, wide. Unfinished study for & picture. 
Presented by the Trustees of the Public Picture Gallery Fund, 

Pan was the god of shepherds, huntsmen, and all dwellers in the country 
side^ a son of Merrurj' and Dr>*ope. He was a monster in appearance^ with 
two small horns on his head, a ruddy complexion, and the lower half of bis 
body in the form of a goat. His chief habitation was Arcadia, where he 
roved the wimkIs and rugged mountains. He was enamoured of the wood- 
rjymph, Pithys, ^ wai also Boreas, the north wind ; but the latter she 
slighted, whereupon he dashed her against a rock, and she was changed 
into a pine-tree. 

1 19. THE GROVE OF ARTEMIS, 

On miU*bo«rvl, 6 in. hi^h by 6i in. wide. Unfinished study almost in monochrome. 
Presented by ilu Trustees of the Public Picture Gallery Fund, 

The grove of the Goddess .\rtemis, or Diana, was in the neighbourhood 
iif Aricia* and was situated on the Appian way, beyond Mount Albaiiiis. 
Here Theseus built a temple to Diana, where he established the same rites 

40 



as were in the temple of that goddess in Tauris. Egeriai Diana's favourite 
nymph, generally resided in this famous grove, and it was here that Numa 
Pompiiius sought her, and made use of her name to give sanction to the 
laws and institutions which he had introduced. Ovid says that Egeria was 
so disconsolate at the death of Numa, that she melted into tears, and was 
changed into a fountain by Diana. 



COLLIER (Thomas), R.L 

Thomas Collier, landscape artist, was born at Glossop, 
Derbyshire, in 1840, He studied for a short time in the 
Manchester School of Art, but was chiefly self-taught. The 
first picture he exhibited in London, called " On the Llugwy, 
North Wales," was at Suffolk Street, in 1863, After that 
date he frequently exhibited in the Royal Academy, but 
chiefly at the Galleries of the Institute of Painters in 
Water-colours, of which body he was elected an Associate 
.in 1870, and a full member in 1872. He sent works to the 
[Paris Exhibitions of 1878 and 1889, obtaining the Legion 
>f Honour in the former year, and a Silver Medal of the 
second class in the latter. He died at Hampstead in 1891. 



~A 



1 20. WOODLAND AND MOOR. 

Water-Golour drawing-, i ft, ri^ in. high by 2 ft. 11^ in. wide. 



See lUustraiion, 



COLLINS (W.), R.A. 

William Collins was born in London, September the i8th, 
]l788 ; his father, who carried on the business of a picture 
Idealer in Great Titchfield Street, was a native ofWicklow, 
[in Ireland, and the friend of George Morland, of whom he 
[wrote a memoir. The son, from this intimacy, was in some 
[measure the pupil of Morland, who allowed Collins to watch 
Jhim painting. He also studied under his father, and 
[became a student at the Royal Academy in 1807, gaining a 
kilver medal for drawing from the life in 1809. He became 
Ian exhibitor at the Royal Academy at an early age, and in 
]i8i4 was elected an associate, and in 1820 a member of that 

41 



institution. His first patron was Mr* Lister Parker, who 
bougfht his picture of '* Boys with a Bird's Nest/' exhibited 
at the Royal Academy in i8og. He becanne the chief 
support of his family in 1812, when he lost his father. But 
he early found valuable patrons in Sir Thomas Heathcote, 
Sir John Leicester, Sir George Beaumont, and Sir Robert 
Peel. In 1817 he visited Paris; made a tour in Holland 
and Belgium in 1828 ; and resided a short time at Boulogne 
in 1829* In 1836 he visited Italy, remaining there nearly 
two years, where a severe illness, caught by imprudently 
sketching in the noonday sun, laid the foundation of the 
disease of which he died, in Devonport Street, Hyde Park 
Gardens, February 17, 1847. On his return from Italy, 
Collins changed his style for a year or two, but reverted to 
those truly English subjects which had won him his solid 
reputation, and employed his pencil to the last. These 
were chiefly landscape, with the outdoor incidents of 
ordinary life prominently introduced ; such as the ** Young 
Fifer,'' the **Sale of the Pet Lamb,*' *' Bird Catchers/' the 
** Reluctant Departure,*' ** Hop Gatherers," ** Happy as a 
King," and '* Fetching the Doctor ; ** with cottage and 
coast scenes in great variety, especially Cromer Sands. 



121. THE RELUCTANT DEPARTURE* 

On canvas, a ft 10 in. hi|rh by 3 ft. 74 in* wide. Painted and exhibited R. A. in iBiz, 

and purchased by Mr, J. Carpenter for £48 15s. od. Formerly in Mr. Edwtn BuUock^s 
collection, and realized ;£i ,470 at his sale at Christie's in May, 1870 See lUustratitm. 



Presented by Mr* Tim4)thy Kenrick^ 



'* In * The Reluctant Departure ' the incident of a mother taking leave of 
her child as it lies in the nurse's arms, ere she descends to a boat in the 
foreground, which a fisherman and his boy are preparing to push oflF frara 
the shore, is treated with singular boldness and simplicity of effect. The 
drawing and action of the figures, the painting of the water in the foreground, 
and of the bank rising beyond it, with weeds and broken ground just visible 
beneath, in shadow, and the depth and harmony of tone thrown over the 
whole composition, combine to make this picture a fine example of the 
painter's careful observation of Nature and industrious study of Art." 
painter*s careful observation of Nature and industrious study of Art."— 
Memoirs of the life of William Collins^ R,A., by his son, W. Wilkie 
Collins, 1848. 



» 



cox (David). 

David Cox was born on the 19th Apiil, 17S3, in Heath 
Mill Lane^ Deritendi Btrmiagfaam, in a house situared 
near the Old Crown Inn, which has loo^ since dis« 
appeared* His father, Joseph Gm> wans a whitesmith 
and general worker in small iron wares ; his mother was 
Frances Walford, daughter of a miller in Birmingham. 
The father intended to bring up the boy 10 his c»wa 
d^de, but at a ver>^ early age David showed a distinct 
feculty for drawling, and he was therefore sent to an e\Tning 
school conducted by Joseph Barber— ^^^^r ^^ 7) — and, 
after receiving some training, was apprenticed to a 
miniature-portrait painter^ named Fieldler. His master 
committed suicide, and David Cox, thus thrown out of 
employment, found temporary work in the scene-painitng 
room of the Theatre Royal, Birmingham, the manner 
being Mr, Macready, father of William Charles Macreadyi 
the eminent tragic acton With the company, Cox travelled 
from town to town, painting scenes and occasionally acting 
as a performer on the stage in minor parts. In 1804 hi 
left Birmingham for London, where he received a few 
lessons in water-colour painting from John Varley^ who^ 
learning that his pupil was poor, and seeing that he was in 
earnest, refused to take fees from him. At this time he 
lived, with some difficulty, by selling small drawings for 
a few shillings each, the produce of visits to Wales in 1804 
and successive years. In 1805 he married Miss Mary 
Ragg, daughter of Mrs. Ragg, at whose house he lodged 
in London, and soon after marriage he settled in a little 
cottage at Dulwich, where he sketched on the Common 
and other places in that district* There he lived for a 
period of five years. In 181 3 he was elected a member of 
the Society of Painters in Water-colours, now the Royal 
Society of that name. For a time he taught drawing to 
private pupils, and as drawing-master at the Military 
College at Farnham ; one of his pupils there was Sir 
William Napier, author of the History of the Pemmular 
War. After twelve months of this occupation Cox became 

43 




wearied of it^ and resigned ; but he found it diSfcitlt to 
make a living by the sale of his drawings, and consequently^ 
in i8i4« he accepted an engagement as drawing.master at 
Miss Crouchers School^ the Gate House^ Hereford, at a 
•alary of j^ too a year. He was also drawing-master at 
the Hereford Grammar School. At Hereford he remained 
until 1827, and then returned to London, where his head- 
quarters were fixed until 1841, the winter and spring' being 
spent there, chiefly in teaching drawing, and the rest of 
the year being occupied by sketching excursions in Wales, 
in various parts of England^ and on the Continent. His 
residence in London was at 9 Foxlcy Road, Kennington. 
In 1839, Cox, until then a water-colour painter only^ 
received a few lessons in oil painting from William Mtiller, 
and from that date began to paint in oil as well as in 
water* During his later residence in London Cox obtained 
ample and not unprofitable occupation as a drawing master ; 
but the work was irksome to him, and though his drawing^s 
were often left unsold when they were exhibited, he never- 
theless felt a strong impulse to devote himself wholly to the 
work of painting. In 1841, in execution of this project, he 
gave up teaching, and removed from London to Harborne, 
a suburb of Birmingham, his native town, where, at Green- 
field Cottage, Greenfield Road, he lived for the remainder 
of his life, in the incessant and laborious practice of his art, 
and in the society of a few attached friends, several of whom 
lived near him, and thus afforded him opportunities of 
constant intercourse, and some of whom occasionally 
accompanied him on his annual sketching tours. The 
happiness of the painter^s life at Harborne was broken by 
two occurrences — the death of his wife, in 1845, which for a 
time prostrated him, and his own serious illness, in 1853, 
as the consequence of which his physical powers, and to 
some extent his mental faculties, were impaired, and con- 
tinued so until his death, on the 7th June, 1859, when he 
paiMd calmly away, in his seventy-seventh year. He was 
buried in Harborne churchyard on the 14th June, 1859, by 
the side of his wife. He left an only child, a son, who as 
David Cox, junior, was a frequent exhibitor of water-colour 



our ■ 



drawings. A record of Cox's sketching grounds is impossible 
in the space of this catalogue — they covered North and 
South Wales, parts of Scotland, Yorkshire, Lancashire, 
Derbyshire, the Central and West Midlands, the district 
round London, Devonshire, and other counties in the South 
and West, and parts of France and Holland, The first 
visit to Wales took place in 1805 ; the first sketching visit 
to his favourite ground in his later years — Bettws-y-Coed — 
was in 1844, ^"^ the last in 1856. In 1826 he made a 
sketching tour in Holland and Belgium ; and in 1829 and 
again in 1832 he visited France. Several special exhibitions 
of Cox*s works have been held : at the Manchester Art 
Treasures Exhibition in 1857 ; at Hampstead in 1858 ; at 
the Grosvenor Gallery^ Bond Street, in 1859 ; again at 
Manchester in 1870 ; at the Liverpool Arts Club in 1875 ; 
again at Manchester in 1877 ; and in the Birmingham Art 
Gallery in 1890. 

The following Collection of the works of David Cox was 
formed by the late Mr. Joseph H. Nettle/old^ and was by 
him bequeathed to the Museum and Art Gallery. 

122, THE SKIRTS OF THE FOREST. *^^>*.^ 

On canvas, 37 %ju bigfa by 35I in. wide. Sig>ned ** David Cox, 1855-6." Ste lUustreUi«n, 

Nettlifold Beptist 

This picture was painted for Mr* David Jones, and the price was ^£40; 
it was afterwards sold with the " Welsh Funeral " for jQ^tSoo. It represents 
the Old Shenvood Forest. Several copies of it of varying size were painted 
by Cox f a ver>' similar work being in possession of Sir Cuthbert Quilter, Bart. 

Foreground, large oak tree; on left, rough road, with woman in white 
shawl, bare feet, carrying basket ; in front of her^ woman in red shawl on 
dark grey horse, with another, dark blue shawl, red handkerchief on her 
head; on right, part of poo!, edged with rushes, etc., and branches of fallen 
tree ; centre of picture, oak trees, showing distant countr)% and some figures 
between the trunks ; on right, npen country ; heavy stormy sky. 

123. STEPPING STONES. "'"^ 

On panel, circular, 10 in. diameter. Signed '^ David Cox/' Fainted 1853. 

NeitUfold Bequest 

Circular pajiel. Foreground, the brook on left, and rocky bed on right ; 
beyond, on left, small cottage, backed by large trees; in centre, meadow, 
and on right, more trees in distance, with background of mountains. 

45 









Taoi lo f onqpoaad on i%lit mod left^ Sesving ga^ 
r«M»an coeaaeroii die water; tmder treei on 6^m^ m 
bdf down die baok ; womao leated m centre ; oa £ar aide of 
. btXU bejrtnid Abbej. 



anktcn nic 



Ob caairAfl. 14 iau li^ hrf li ta. wide. S^aed ** David Cok.** Pjui^t^i iiS>s: \S^^ 

Wcmi^omif on Mu a poal rrflfcting donda^ bonletied hj nubi 
00 rifhif a ftd4« wtth a woman tn white stm bonnet, and diikL ddrii^ 
lock of geese towaida a cottage amoog a belt oC tzees stietdiixig 
picture^ lA diftaaoe, ciee^ooirered hilb; clouAj e?eniiig skj. 

116. MAJULET GABi>£N£RS. 

Om paMl* 10 ki. liigli by 15 to. wide. Si|;tied ** Darid Cool^ Pmmtcd abooc tBr^ou 

NetiltfM BtfmesL 

Foreground, path thrDUgh vegetable garden, cabbages, etc, men and 
women loading cart, on left ; in centre, man vrbeeling barrow ; grey momiog 
•ky. 

nr. FLINT CASTLE, NORTH WALES. 

On paoal, 1 1 in. high by 16 m. wide. Pa.inted about 1846. 

Neiiltfold Bepiest. 

THr rantlr, three round towers showing on left, with mast of ship beyond; 
in front, the «and, with boat under castle wall, and another in centre, with 
man teated and two others standing ; on right, the sea and distant figures ; 
Ktormy sunset. 

lis. CROSSING THE SANDS. 

On |Mui«l, ro in. high by ta in, wide. Sig^ned ** David Cox, 1848.*' 

NHilefold Bequest, 

Foreground, the sands; in centre, woman in red cloak, and white horse, 
with jiftjinlers, and man on brown horse^ with woman on pillion holding 
men umbrella; beyond, gn left, covered cart; on right, another cart, and 
noneman, alt hurrying forward ; heavy storm coming up from left. 

iJ9 BETTWS-YCOED CHURCH, 

On canvas, tot in. high by 15 in. wide. Painted about 184^ 

Nmhfold Bequest, 





Bettws-y-Coed, the faf^oorite sketdm^ gtoiiQd of Cox, is tn the CooBlf 
of CamaTTOQ, at tbe conflimice of the IJtigwx wad Conway rivers, near rtte 
town of Llsnnr^ It is a greu resort of artists mod anglers. The aikcieDt 
little cbtjrdi contains a moniuDent of Gfyffjdd, graod-oephew of the last 
Prince LlewellyiL 

L ^ Laige ttees filling left of picture ; end of chmch with belfry on right ^ in 
foregiDund, grass with graTestooes. man and woman taHdng to giavedigfer^ 
beyond, trees, with rodky tops cjf biUs, lit with yellow light of setting son ; 
darkdoods above. 



13a COTTAGE INTERIOR. 

Oa pftoel, ft ia. bcgh by 15 ia. 



Painted ahoui 1840. 



Large open fireplace in centre, with woman knitting by cradle ; shelf, with 
pots and pans o^er fire, rafters showing at top; on right, woman rolling 
pastry at table, with child reading under window. 



151. IN THE HAVFIELD. 
Oo canvasp 30I in. high by 43 in, wide. 



S%iicd *■ Darid Cox.'* P&inted about 1855. 
NettUfM Be^mfst 

On the back of this canvas is an unfinished picture of a man driving a 
flock of sheep, on the right a horseman. 

Foreground^ on left» rough road, bordered by rails^ with man in shirt 
sleeves, on white horse, leading dark one, talking to man on foot with 
basket ; on right, part of a pool with large rushes ; in middle distance, the 
hayfield, with men loading the carts ; dark, stormy sky, full of heavy clouds* 
filling two-thirds of canvas. 



-^ 



132. THE CROSS ROADS. 

On panel, 6| in. high by 10 in. wide. 



Signed *• David Cox, 1850/' 

NettUfald BtptisL 



Foreground, the road, across picture; in centre, woman, with white cloak, 
and dog ; man on horseback pointing out sign-post, on right, to a man and 
women ; man driving cattle, beyond ; a very windy day, dark heavy clouds 
blowing across sky. 



133- 



PEAT GATHERERS, 

On paneJ, 7 in. high by 1 1 in. wide. 



Signed " David Cok, 1850.*' 

NeitUfoli BifUiiL 



Foreground, rough stony way over moor, two women canying Urge baskets 
fi back filled with peat, cart drawn by white horse; low hills in back- 
ground ; heav)' storm clouds blowing up from left to right. 

47 



134. WAITING FOR THE FERRY. 

On canvas, 14 ia. high by 18 in. wide. Signed '* David Cox, i845*" 

NtitUfotd BefuesL 

Inscribed on back " Hunsum's Ferry on the Wye/* Foreground, on ngkt« I 
the river Wye» with three ducks; on left, the river bank, rushes, docks, etc,,] 
with rough stone causeway ; also windlass, pole, and rope for drawing up ] 
ferry-boat, Man on horse-back, man with basket, and woman with red cloak j 
waiting; behind them red-roofed cottage; in centre, birch and other trees,! 
and to right, a meadow with cattle. Background, the hills with gap on] 
right, showing the course of the river; blue sky with light clouds. 

135. DRIVING CATTLE. 

On panel, lo^ in. high by 15 in. wide. Signed '* David Cox." Painted about 1848. 

Netilefold Bequest. 

Narrow path winding along the side of the hillSt grassy downs withl 
scattered boulders, with trees under which are sheep. Man on white borset| 
and man walking, driving a flock of cattle from left to right. Foreground,! 
large boulders with foxgloves, etc, ; in the distance, mountain tops with daTlt| 
clouds above, 

136. A HEREFORDSHIRE LANK 
On panel, 74 in, high by 14 in* wide. Signed ** David Cox.*' Painted about 1843. 

Netilefold BequesL 

In centre the lane, with trees on each side; man in shirt-sleeves with' 
bundle and rake on shoulder, and cart drawn by two horses in middle 

distance. Almost identical with No. 155. 

137. A HEREFORDSHIRE VILLAGE. 

On panels 6 in. high by 8) 10. wide. 

NeUkfcld Bequest. 

Foreground, a brook, on left the church with cottage in front, bank and 
road descending to water; on rights trees, skirted by railed path, 

138. A HEREFORDSHIRE VILLAGE CHURCH. 

On panel, 6 in. high by 8} in. wide. 

NeUlefold Bequest, 

Foreground* partially cut haystacks, with man and ladder, fenced in from 
field ; beyond, on left, the church ; on right, trees. This study is used in 
Cox's book on •* Light and Shade." 

48 



139- FISmNG BOATS AT HASTINGS. 
I On panel, 6 in* higb by S| in. wtae. 



N^zUfold 



Boats on the beairh with sails up for ^rioi^ ; men in fbr e gi ouo d couobng 
fish mtt> baskets ; on the kft the sea ; man stttuig oo beat ; beyood^ aootber 
bottt htSM% ifown up. 

140. WAITING FOR THE FERRY— MORNISa 
On OiflvaSfe 134 ^ l^H^ I17 iS in. wiifi& Si^atfd ** Oimd Cool." P^Jated in t^K 



H Od die left, the nver; on irghr, a poDC ded to woodes post amoog mslies 

^bod dock leaves ; on buk dbovc^ pai^ of awo and woeaez^ soioe 00 bocse* 

backp waxtim^ for the fefij to fetnixa iooaa d^ other side ; oo far baak, left. 

a hoaae wncmg trees^ man on l> o nrf>a ck ^ sod fezry-boat landiog a flock of 

sheep ; in &tance. meadow Ian<^ backed by hilb ; yellow sky« rising sun. 



141. DRIVING SHEEK 

Oa paaei» 9 in. hi^ bj 13 io^ wld& 



Si^Mxt' 



NitzUMd B4pm$L 

Foreground, a pastise with sliepkad in white smock, followed by a dog» 
driving flack of slieep towards nghl of picture; low hills in the distance ; 
blue sky. 

142. THE FARMSTEAD. 
On cAHTmsr 9^ in. h^ by t^ ia. mid^ Fainted about 1847. 

Foreground, road leading to fann, woman with water jar on head talking 
llo women and chUd ; the buildings beyond with haptacks in centre ; hoises 
od cart, two large trees on right and other trees in background ; dark bhie 
Jaky. 

143. RHYL SANDS. 

On canvas. 2^ in. higli by 53 in* wide. Signed ^' David Cox. 1054-5." 

NeMlffaid Bi^st 

This picture was exhibited at Liverpool and sold by the artist to Mr 

E for ^100, It then passed through sevaral hands, notably Mr, Agnew's, 

eing sold in 1864 for ^£150. Ultimately it went back to Mr. William Agnew 

|c»f Manchester, who retained it for many years, but be sold it in 187a to 

Mr. Levy of London for ^^2,300. Later it was acquired by Mr. J. H. Nettle- 

fold 

On left foreground grey-green sea, wind blowing, breaking on sand beach 
^ht, which curves round to centre in middle distance ; on extreme right, 
:>me of the houses on the parade ; beach covered with figures gaily dres»ed, 
id a row of bathing machines beyond ; a steamer on the horizon ; more than 
ro-thirds of the canvas is the sky, full of dark storm clouds. 




144' WINDERMERE. 

On panel, 9 in. htg^h by 12 in. widet Sigrned " David Cox« 1H44.*' 

NeUlifold Bt^tst, 

Foreground, rough boulders, bushes, etc., man with basket^ and another 

holding down branch of tree ; be)'ond, belt of trees, with birches in centre, 
rising to top of picture ; middle distance, the lake, with hill at back ; light 
blue sky. 

145. WELSH SHEPHERDS. 

Oil panelf 7I in. hig-h b/ 10 in. wide. Painted about 184a. 

NeUUfotd Btqmsi, 

Two men driving flock of sheep over raoor ; hills in background ; all vtxj 
dark in tone. 

146. KILGEl'lRAN CASTLE, PEMBROKESHIRE. 

On panel, S^ in. high by 12 in. wide. Sig-ned ** David Cox, [852 

NHtUfold Beptii 

Foreground, on left, bank, with several large trees, under which an artist 
is sketching ; in centre and right, river flowing up to foot of high cUflF in 
middle distance, on the end of which stands the castle with two circular 
towers; on feft, high cliflF covered with trees; several boats on river; back^ 
ground of distant countr)* ; blue sky. 

147. CHANGING PASTURE. 

On canvas, tSJ in. high by 28J in. wide* Signed ** David Cox, J 847." 

NmUfold Bequest. 

Foreground, in centre, gateway between the two pastures, with flock of 
sheep running through towards spectator; on left, ditch, with docks and 
undergrowth, and the bars from the gate; on right, the old shepherd, with 
caped cloak, standing by fence, and boy in smock frock, seated on ground* 
dog lying down ; in middle distance, on right, rising ground, with cattle and 
sheep, and windmill and farmhouse on top ; on left, the plain, with woods ; 
heavy rose-hued clouds over horizon, and dark purple-grey sky above. 

148. ON THE SANDS, 

On panel, 9 in. high by 13} in. wide. 

NeUUfold Bcqu€sU 

Foreground, the sands, with flock of gulls attracted by dead fish ; sea on 
right ; small figures in distance ; very dark clouds coming up from right. 

149. ON THE THAMES, BATTERSEA. 

On panel, 8 in. high by u in* wide. Signed ** David Cox." 

Neitkfold Bequest 

The scenery of the Thames afforded many subjects for Cox's pencil, and 
he worked industriously in sketching from nature in the environs of London, 

50 





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picking up quaint rustic bits* and drawing picturesque old buildings, then 
found in every direction, as well as in delineating the more captivating 
features of rural landscape. Foreground, the river with two men in rowing 
boat, and a sailing barge ; middle distance, the bank, with willow trees, and 
part of Battersea on right ; cloudy sky, stiff wind blowing. 

150, THE MISSING LAMB (an unfinished work). 

On canvas, 27I ill* hig^ by 37^ In. wide. Painted about 1852. 

Ncttlefald Bequest 

Large rock and scattered boulders, from which project the bare trunks 
of three trees ; at the foot of one a girl pointing down to wounded lamb 
below. 

151. TENDING SHEEP, BETTWS-Y-COED. 

On panel, 12 in. high by 17 in. wide. Signed ** David Cox, 1849." 

Netthfold Beqmst 

On left, two large trees, with shepherd seated, with crook and dog. beyond 
them stone wall and field ; on right, rough path and dark bushes* with flock 
erf sheep, woman coming from distance ; middle distance, the hills. 



yf 



H^^ 



152. GOING TO THE HAYFIELD. 

On canvas, 11 in. hig-h by 14^ In. wide, Sigiied ** David Cox, 185J." 5## IUustra\ 

Neiikfold Bequest 

Foreground, on left, a fence with wild flowers, dock leaves, etc, in front; 
in centre, boy in smock leaning against open gate, through which man in 
shirt sleeves, on dapple grey horse, and woman in red skirt* white jacket* 
having hay rakes over her shoulder, are passing ; on extreme right, part of 
hedge, with wild roses ; beyond, the field, with small figures, cart horses \ 
wind-blown clouds. 



155. SHEEP SHEAKING. 

On panel, 104 ia. high by 15^ in. wide. 



Signed " David Cox, 1849," 

Netihfold Bequest 



Foreground, on left, cloth covered with wool : in centre, three women with 
black Welsh hats seated on ground shearing sheep, with man h<>lding one 
down; on right, roofed sheep pen, with man in shirt sleeves holding another 
sheep by forelegs; two birch trees at back; beyond, the hillside, with sheep 
under three or four large trees ; mountain tops in the background* 



154. THE SHRIMPERS. A 

On canvas, lO in. high by 15 in. wide* Signed '* David Cox, 1853,'* 

Nettie fold Bequest 

H Foreground, the sand, with sea on right, and low headland in background ; 
H in centre, man on horseback, with dog, talking to two women with shrimp 

1^ :_ 



cox (Dawid), Jiin, 

the youogter* fmfy dbSU of I>ivid Cax« ilie 
^ artist, was bora u Ditlwidi in iSo& H« 

exhibttor of water-cokMr dmvii^s^ and 

J46 was a member oi Ae New Society of 

^ainters. In 1849 be wms elected mo 

Old Warer<oloiir Sodecy* He woricod 
manner of his feufaer, whose pnpil he was, 
cellent drawiog^-masttf. He hrst exhibited 
cademy in 1S27. He worked principally in 
md, although a good teacher and socially 
fure, he never auained to much reputation 
e died at Chester House, Streatham HilU 
Ih, 1885. 

JD HOUSE. HARBORNE, THE RESIDENCC OF 



dr^mmi^ i ft. t| in. hkgh by i ft 9 m. wicU, 

Mm aroaad Haiboroe wtse ju tbat ttOK ir«iiy chaniiiii|{ 
ictisreiqtie. Fine trees vere to be ieen on mmf tide, 
ifacrc dotted tbe laodi^pe, ooonUT pmto of lh« 
Ibe irkket gacn, or itfoUod iloiis die qwC loadi^ 
or dnrii^ booie the oovt or poriMn dial bad 
the mijrside. There wivt wamt prettj * bitf * fof 
'ev jrmrds oC Cox's dwelliiiff — viewB of lane and 
and briary be4%e-fOWs. with pee|Ni between 
tbe snnsiitiie, and eeodit^ aloft Uieif wreithi of 
namer skf. With intiDite retUh did tbe arttftt tet 
often depicted, under rariom elfecti ', anii ■"* '^ ^ 
farther awa]r, in the meadowt and con 
at . EdgbaiiocL Tben there wma the «• 
its tree-ebaded gravejraid and time-woi 
' tnneadi adown the slopes and cuetuo^ ^^^ 
.^ in tbe remote dlttanee wete tbe bhie hUi« 
ih& pastoral aiMl placid landscape, and lending an 
view." 

ICK (Thomaa), R,A^ 

ick, landscape painter, waa hmn it 
He waa sent when v«ry vaMivn i^ 
became a pupil of I, yf. P^icbof 



he 



nets over their shoulden; beyond them two homeinen gallopijig, aod 
shrimpers at work ; at the edge of the sea» small boat and sea-gulls, doods 

in a blue sky. 



155. LANE SCENE, HEREFORDSHIRE, 

On canvas, 8 in* bi^^ by ii| in. wide. Painted about 1840^ 

Nmlefold BeqmsL 

In centre, the lane, with trees on each side, with small path running to 
gate on left, figures under trees ; in front, part of a brook, with wooden bridge 
in right comer, with cottage and trees beyond ; blue sky with light blue clou^ 
Almost identical with No. 136. 



% 



156. PENMAEN BACH. 

Water-colour drawing, 22I in. hig^h by 33^ in. wide. Signed " David Cox," with 
illegible date. Painted about 185 1. Inscribed on tbe back, in the handwriting^ of 
Cox, ** No. I. Pcnmaen Bach, on the coast between Conway and Bangor. [>avtd 
Cox." Exhibited at the Cox Exhibition, Liverpool Art Club^ 1875, as *'* Moiintaiti 
Sheep," lent by Sir Josiah Mason. 

Presented by Mr, Marfyn Smith. 

In foreground, large boulders and sheep; on right, flat shore, the hills 

beyond capped with clouds. 



157. ASKING THE WAY. 

Water-colour drawing, 25 in. high by 33 

at the Cox Exhibition, Liverpool Art Club^ 



I 

I 



in. wide. Painted about 1850. Exhibited 

875, lent by Sir Josiah Maaon. 

Presented by Mr, George J. Johnson. 

A wild moor, sandy, gorse covered % pool with rushes, in the left fore- 
ground ; in centre, six large fir trees, under which are two men on horseback, 
one pointing to a sign-post beyond ; very stormy sky, with white clouds low 
down in left background. 



158. COAST SCENE WITH FIGURES. 

Water-colour drawing, 6 in. high by lo in. wide. Painted about 1835. 

Presented by Mr. Henry Buckley. 

This drawing was given by Cox to the late Dr. Ledsam, and by him to 
Mr. Buckley. Foreground, sand, with group of fishennen, baskets, and two 
horses; cliffs behind receding to right of picture; other figures and two ■ 
fishing smacks in distance ; dark grey-blue sky. I 

(Six drawings by David Cox »fof'ming part of the ** Graphic Illustratians 
of Warwickshire/' a permanent loan from the Council of the Midland 
Institute, are also exhibited : see special catalogue of ' ' Old Birmingh am 
and Warwickshire Drawings/' price One Penny,) 





I 



cox (David), Jun. 

David Cox, the young^er, only child of David Cox, the 
great landscape artist, was born at Dulwich in 1808. He 
was a frequent exhibitor of water-colour drawings, and 
from 1 84 1 to 1846 was a member of the New Society of 
Water-colour Painters. In 1849 he was elected an 
Associate of the Old Water-colour Society. He worked 
much after the manner of his father, whose pupil he was, 
and was an excellent drawing-master. He first exhibited 
at the Royal Academy in 1827. He worked principally in 
water-colours, and, although a good teacher and socially 
a well-known figure, he never attained to much reputation 
as an artist* He died at Chester House, Streatham Hill, 
on December 4th, 1885* 

^l59. GREENFIELD HOUSE, HARBORNE, THE RESIDENCE OF 
DAVID COX. 
■ Water-colour drawings i ft, if in. hig"h by i ft. g in. wide, 

P Presented by Mr. H, J, Jenn ings* 

" The lanes and fields axound Harbome were at that time very charming 
to a lover of the picturesque. Fine trees were to be seen on every side, 
rural cottages here and there dotted the landscape, country people of the 
H true breed stood at the wicket gates, or strolled along the quiet roads, 
H carr}'ing their marketings, or driving home the cows or porkers that had 
been picking up a meal by the wayside. There were some pretty * bits ' for 
the pencil even within a few yards of Cox's dwelling— views of lane and 

(cottage scenery— fine sycamores and briary hedge-rows^ with peeps between 
of rural homes, ruddy in the sunshine, and sending aloft their wreaths of 
sweet blue smoke to the summer sky. With infinite relish did the artist set 
to work at these subjects, often depicted, under various effects ; and at those 
which he found a little farther away, in the meadows and cornfields at 
Metchley, or in the Park at Edgbaston. Then there was the old parish 
church close at hand, with its tree-shaded graveyard and time-^wom stones \ 
and green meadows, with farmsteads adown the slopes and cresting the 
rising lands farther away ; while in the remote distance were the blue hills 

I of Clent, soaring above the pastoral and placid landscape, and lending an 
additional chann to the view/' 



CRESWICK (Thomas), R.A 

Thomas Creswick, landscape painter, 



was born 



at 
Sheffield in 181 !• He was sent when very young to 
Birmingham, where he became a pupil of J. V. Barber. 




He went to London in 1828, and immediately begfan to 
exhibit at the British Institution and the Royal Academy, 
to both of which he was henceforward a constant contri- 
butor. His early works, which were chiefly Welsh scenes, 
had a great success. In 1842 he was elected an Associate 
of the Royal Academy, and nine years later he became an 
Academician. Some of his later pictures were painted in 
conjunction with Goodall, Elmore, John Phillip, Frith, 
and Ansdell, who introduced the figures and cattle. He 
was an active member of the Etching Club, and also 
occasionally drew on wood blocks. He died at Bays- 
water on the 28th December, 1869. 

160. A DISTANT VIEW OF BIRMINGHAM. 

On panel, 8 in. high by iif in. wide. 

Presented ty Mr, J, H, Pearson* 

An early work by the artist. 

DAWSON (Henry). 

Henry Dawson, born in Hull, in 1811, was taken t^ 
Nottingham J where his parents had previously resided, in 
the following year. He began life as what is technically 
named a ** twist-hand '' in a lace factory. While thus 
occupied he painted pictures, which he sold for a few 
shillings each. In 1835 he gave up the lace trade and 
set up as an artist, his earliest patron being a hairdresser 
in Nottingham, who possessed a taste for art In 1844 he 
removed to Liverpool, where, after a time, he became well 
known, and received higher prices for his works. In 1849 
he went with his family to London, and settled at Croydon, 
where some of his best pictures were painted. He exhi- 
bited most of his largest and finest works at the Royal 
Academy, notably *' Greenwich Hospital/* *^ London, from 
Greenwich,'* '^ The Rainbow," etc. With the exception of 
six lessons from Pyne, received in 1838, Henry Dawson 
was entirely a self-taught artist, and his art shows much 
originality and careful realism. He studied nature for 
himself, but he seems in later life to have been moved by 

54 



Turner*s influence to try more brilliant effects than he had 
before dared. An important exhibition of his pictures was 
held in the Nottingham Museum in 1878, He died in 
December, 1878, at Chiswick, where he had for some 
time resided. 



161. 



ST. PAUUS FROM THE RIVER THAMES. 

On canvas, 3 ft. 3 in. high by 4 ft, 11 in. wide* Painted in 1877. 
Preseniid hy the Trustees of the Public Picture Gallery Fund, 



^IOI 
P DE WINT (Peter). 

Peter de Wint, born at Stone, Staffordshire, 21st 
January, 1784, was the son of a physician of Dutch 
extraction. He was a pupil of J, R. Smith, crayon painter 
and engraver, and afterwards a student at the Royal 
Academy* He was elected an Associate of the Society of 
Painters in Water-colours in 18 10, and a full member in 
1812, and for nearly forty years was a contributor to its 
exhibitions. He married the sister of W, Hilton, R.A, 
He died at 40 Upper Gower Street, London, 3Qth June, 
1849* He was distingfuished as a teacher, and loved to 
paint direct from nature, and was never so happy as when 
in the fields. His subjects are principally chosen in the 
Eastern and Northern counties, and, though often tempted 
to extend his studies to the Continent, the love of home 
and home scenery was so strong that, except a visit to 
Normandy, he never left England. He formed a style of 
his own ; his colouring was good and harmonious, his 
light and shade broad and simple ; but his drawing was 
defective, and he was deficient in executive handling. 

162. BRAY CHURCH ON THE THAMES. 

Water-colour drawings, i ft. ]| in. high by i ft. 8} in. wide< 

317. HARVEST SCENE. 

Water-cotour drawing, 104 in. high by 1 ft. 54 in. wide. 

Presented by Mr, / Palmer PkiUips. 

(Six drawings by Peter de Wint, famting part of the ** Graphic IlluS' 
t rations of Warwickshire/* a permanent Loan jrmn the Cmincil of the 
Midland Institute t are also exhibited : see special catalogue of ** Old 
Birmiftgham and Warwickshire Drawings " price One Penny.) 



y{ 



DOCHARTY (James), A.R.S.A. 

James Docharty was born in the calico-printing' district 
of the Vale of Leven, near Dumbarton, in 1829, He 
served his apprenticeship as a pattern designer, which 
profession he pursued in Glasgow until about 1861, when 
he took seriously to the profession of a landscape painter^ 
for which he had always had a strong predilection. He 
exhibited at the Glasgow Academy of Fine Arts and at the 
Royal Academy, and the quality of his work soon brought 
him into notice, and led to his election as an Associate of 
the Scottish Academy in 1877. In the spring of 1876, his 
health failing him, he went to Egypt, and made numerous 
sketches of the Nile scenery, which, however, he never 
finished as pictures. A pulmonary complaint, from which 
he had been suffering, ended fatally in 1878. 



63, GLEN LUI DEER FOREST, BRAEMAR. 

On CAnvaj, 3 ft. oj in. hig:h by 4 ft. 8 tct. wide. Painted in 1872, 

Presented by Mr, Frederick Elkin^tan* 



DUNCAN (Edward), 

Edward Duncan, water-colour artist, was born in London 
in 1803. He was articled to Robert Havell, the aquatint 
engraver, and soon developed a taste for drawing and the 
use of coloun In 1831 he became a member of the new 
Society of Painters in Water-Colours, but afterwards with- 
drew, and in 1849 was elected an Associate of the *' Old *' 
Society of Painters in Water-Colours* and a full member in 
1850. He died in London in 1882. His drawings com- 
prise a wide range of subjects, treated with much grace and 
great truthfulness to nature, but his larger and more 
important works are chiefly coast scenery, with shipping 
and craft admirably characterized. ^ 

164. SPITHEAD. 

W^ater-colour drawing^, t f^. i| in. hi^h by i fl. 8f in. wide. Painted in iS55, 

Presented by Mr* James R, Moiiiday^ 

56 



DYCE (William), R.A. 

William Dyce was born at Aberdeen, where his father 
was a doctor, in 1806, and educated at Marischal College. 
jHaving determined at an early age to adopt the profession 
[of a painter, he entered the Schools of the Royal Scottish 
[Academy at Edinburgh, and afterwards of the Royal 
I Academy in London, These studies were in due course 
Ifollowed up by Continental travel. Young Dyce paid two 
Ivisits to Rome, where he remained for some time before 
[returning to settle at Edinburgh in 1830. There he followed 
the practice of a portrait painter, with such success that he 
[was elected an Associate of the Scottish Academy in 1835. 
[ Two years later he published a pamphlet on the subject of 
[Art-education which attracted considerable notice, and when 
the Government Schools of Design were established in this 
[country in 1838, Mr, Dyce was appointed at the head of 
their administration* He entered into the State competition 
[ for the decoration of the New Houses of Parliament, and 
I completed a series of frescoes illustrating the life of King 
Arthur. He was also commissioned to execute mural 
paintings for Her Majesty at Osborne and Buckingham 
Palace. Dyce was a constant exhibitor at the Royal 
Academy, of which he became an Associate in 1844, and a 
full member in 1848. He died in 1864. '* Dyce,*' says Mr* 
Hodgson, R,A-, '* must be ranked w^ith the Pre-Raphaeiites, 
although his work was probably intended as a protest 
against their heresies. Although there is no documentary 
evidence of the fact, it seems evident that he intended to 
show that minute finish and careful imitation of nature 
might be obtained without turning all the theories of art 
topsy-turvy." Dyce was one of the first to recognize the 
talent of Holman Hunt, to whom he showed much 
encouragement and kindness. His Pre-Raphaelite land- 
scape '* Pegwell Bay," painted in 1858, and '*St. John 
leading the Virgin Mary from the Tomb,*' are in the 
National Gallery of British ArL 



« 



' 16$, THE WOMAN OF SAMARIA. 1 

On panel, i ft* ij in, high by i ft. 7f in. wide. Exhibited Ai the Royal Jubilee Exhibt-j 
I »ion, Manchester^ 1887. Purchased from Sir Ji?hn Pender's Collection, 1897. J 

Sfe illusiration, J 

Presented by the Trustees of the Public Picture Gallery Fund. \ 

EAST (Alfred), A.R,A^ 

Alfred East, landscape artist, was born December 15th, 
1849^ at Kettering, Northamptonshire, where he spent the 
first twenty-five years of his life. He obtained his first 1 
lessons in art at the night classes of the Government 
School of Artj Glasgow, and afterwards at the Ecole des 
Beaux Arts, in Paris, and in the studio of Mons. Tony 
Fleury. He was for some time at Barbizon, where, in 
1883, he painted his first Academy picture, ** A Dewy 
Morning." In 1889 he spent six months in Japan, and 
on his return a special exhibition of his works was held in 
London, He is hors concours of the Paris Salon des Beaux 
Arts, and a member of the Royal Institute of Painters in 
Water-colours, the Royal Society of Painter-Etchers, the | 
Institute of Painters in Oil-colours, and an honorary] 
member of the Mei-ji Bi-Jutsu Kivai of Japan, He 
gained a gold medal at the Paris International Exhibi- 
tion, 1889, and another at Munich in 1891- He was 
elected an Associate of the Royal Academy in February,] 
1899. I 

U|66. HAYLE, FROM LELANT. 1 

^r On canvas, 3 ft. 6 in. high by 5 ft. 7^ in. wide. Ste lUustration. 1 

This picture was painted from Leiant Station, on the St Erth and St. Ives 
branch of the Great Western Railway, in the summer of 1891. The town 
of Hayle is celebrated as being the birthplace of railways, although loco* 
motives were not used The railway was made to bring the ore from the mines, 
the full trucks as they came down pulling up the empty ones by cable. The 
town lies on a tidal river which finds its outlet in St, Ives Bay. The scene \ 
is represented under the warm light of the setting sun ; the church, houses^ 
workshops, and fishing boats are vividly lighted up by the last slanting rays of 
a summer sun. the pools of water on the sand reflecting the blue sky. The 
sun being at the back of the spectator there is scarcely any shadow except 
that thrown by the sea-gulls. 

58 J 



ETTY (William), R.A. 

William Etty was the son of a miller and spice-bread 

maker of York, where he was born March lOth^ 1787, He 

was apprenticed to a printer, but, at the age of nineteen, 

by the help of his relatives, he was enabled to leave trade 

and to study art in London. In 1807 he entered as a 

student at the Royal Academy, and continued to work in 

the schools during the rest of his life. By his uncle's 

generosity, who paid one hundred guineas for him, Etty 

became the pupil for one year of Sir Thomas (then Mr,) 

LawTence ; but the incessant occupation of Lawrence left 

ihim little leisure to assist his pupiL Etty ventured at one 

rtime to send six pictures to the Academy Exhibition : 

ill were rejected. This happened year after year at the 

jAcademy, and at the British Gallery ; but, by discovering 

lis defects, and by great industry in endeavouring to correct 

[them, he at last conquered his evil fortune, and by such 

irorks as '* The Coral Finders," exhibited in 1820, *' Cleo- 

Ipatra/* exhibited in the following year, and some others, he 

[gained a high reputation. In 1822 Etty went to Italy, and 

Iwas fascinated by the power of the great Venetians : — 

I** Venice, the birthplace and cradle o( colour, the hope 

[and idol of my professional life ! '' He studied in the 

lAcademy there, and was elected an honorary member of it, 

jHe returned to London early in 1824. The first picture he 

lexhibited after his return was ** Pandora Crowned by the 

ISeasons/' in the Exhibition of 1824, for which he was 

Ichosen an Associate of the Royal Academy ; and in 1828 

I he became a Member. In 1849 an exhibition of Etty*s 

J works, to the number of 130 pictures, was held at the 

rooms of the Society of Arts, which greatly increased his 

[reputation, especially as a colourist. Etty died in the same 

ftSLTj 1849, at Yorkj on the 13th November, When he 

[^painted the first of his three pictures illustrating the story of 

Judith^ in 1828, a few zealous members of the Birmingham 

[Society of Arts were eager for the general body to purchase 

it, but they were poor, and the arrangement fell through, 

and the picture was secured by the Scottish Academy* 



I 



167. PANDORA. 

On canvasi 5 ft. 7i 10. high by 7 ft, 1 1 in. wide* 

Presented by the Soczefy of Arts. 

As early as iSip Etty was attracted by the story of Pandora as a subject 
for his brush. In 1820 he exhibited, at the British Institution, a small 
picture, highly finished and carefully wrought, called a " Sketch from Hesiod 
— Pandora formed by Vulcan, and crowned by the Seasons " (17 in. by 22 in,). ■ 
During his absence in Italy his sketch books were filled, among others^ ■ 
with rough scrawls for the second Pandora^ which w^as exhibited in the Royal 
Academy, 1824, and purchased by Sir Thomas Lawrence, his old master, 
the President of the Academy, This picture was 48 in, by 57 in. Owing to 
it he was elected an Associate, The picture in the Birmingham Gallery ■ 
(S ^'* !%■ 'J^ t)y 7ft. iiin.) is a large unfinished study for the 1824 picture. ■ 

Pandora was the Pagan Eve, the first mortal woman according to the poet 
Hesiod. She was madtj with clay by Vulcan at the request of Jupiter, who 
wished to ptinish the impiet)' and artifice of Prometheus by giving him a 
wife. When this woman of clay had been made, and had received life, all the 
gods vied in making her presents, Venus gave her beauty, Apollo taught 
her how to sing, Mercury instructed her in eloquence, and Minerva gave her 
rich and splendid ornaments. From all these valuable gifts from the gods, 
she was csdled Pandora. Jupiter gave her a beautiful box which she was 
ordered to present to the man who married her But Prometheus, distrusting 
Jupiter and the gods* since he had stolen fire from the sun to animate his 
man of clay, refused Pandora ; but his brother Epimetheus was not possessed 
of the same prudence, and married her. When he opened the box, there 
issued from it a multitude of evils and distempers, which dispersed them- 
selves all over the world, and have since then afflicted the human race. 
Hope alone remained at the bottom of the box. The above painting repre- 
sents Pandora before Venus and Cupid, being crowned by the Seasons — 

** To deck her brovv the fair-lressed Seasons bring 
A Garland breathing all the sweets of Spring." 

Elton's'' Htsiodr 

' FEENEY (P. M.). 

Peregrine M, Feeney, eldest son of the late Mr. John 
Frederick Feeney, the founder of the Birmingham Journal 
and BirminghafH Daily Post^ was educated at Edinburgh 
University. He adopted literature as a profession, and for 
many years was actively engaged upon the Press, joining 
at first the staff of the Scotsman^ and afterwards acting as 
assistant editor of the Birmingham Daily Post. In 1868 
he entered Carey's Academy as an art student, and subse- 
quently the Royal Academy Schools, During the last 
thirty years he has exhibited at the Royal Academy, the 

60 




Dudley Gallery, and the Institute, and has nearly always 
ibeen represented at the exhibitions of the Birmingham 
[Royal Society of Artists, of which body he is an Associate, 
tHis subjects have gfenerally been seascapes. 

[16S. LLYN IDWAL. THE CRADLE OF THE MISTS. 

On canvas, 4 ^ Si ^ ^ig^h by 6 ft. wide. Pa^tnted in i$8», 

Prtsefited by Sir John J affray* Bart, 

Llyn Idwal^ in Nant Ffnuicon (** Vale of Beavers ''), North Wales, is a 

nail lake deep-set between the rocky heights of V Gam on the right and 

Uyder-fawr on the left The lake is 1,200 feet above sea le\"'el. Idwal, 

lio rans the legend, was the son of Owen Gw%*nedd, Prince of North Wales. 

|He was thrown into the lake by bis foster-father. No bird, it was long 

"believed, wotild fly over the waters of the lake. 

FIELDING (Copley). 

Anthony Vandyke Copley Fielding, water-colour artist, 
iras born in 1787, He was the second and most dis- 
tinguished son of Theodore Nathan Fielding, a portrait 
Ipainter o{ considerable local reputation, who lived near 
fl-Ialifax. He studied with his father, and afterwards under 
John Varley, and first exhibited at the Water-Colour Society, 
of which body he was elected an Associate in i8ro, and a 
full member in 1813. He was a constant exhibitor with the 
Society, and, being a very rapid worker, for many years his 
contributions averaged between forty and fifty. He became 
Treasurer of the Water-Colour Society in 1817, Secretary in 
1 8 18, and in 1831 was elected President, which office he 
held until his death* In 1824, he was awarded a gold 
medal at the Paris Salon* He was one of the most 
fashionable drawing-masters of his day, and his large 
teaching connection, added to the public appreciation of his 
art, enabled him to amass a considerable fortune. In his 
later years he resided at Brighton. He occasionally 
exhibited oil-paintings at the Royal Academy and British 
Institution, His favourite subjects were lake and mountain 
scenery, storms at sea, and views of the Sussex Downs. 
He died at Worthing on March 3rd, 1855, His three 
brothers, Theodore, Thales, and Newton, all practised 
water-colour art with success. 



)( 



M. Ernest Chesneau^ in his EngHsk School of Paintings 
says: — '* Copley Fielding is, perhaps, the greatest artist, 
after Turner, for representations oi breadth and atmosphere. 
He is unequalled in certain effects of mist which are splendid 
in their mysterious expanse.'' 

Mr. Ruskin, in The Art of England^ speaks of him 
thus; — ''There is a singular character in the colouring of 
Fielding, as he uses it to express the richness of beautiful 
vegetation ; he makes the springs of it to look pearly, as if 
they were strewn with jewels. He is, of course, not 
absolutely right in this ; to some extent it is a conventional 
exaggeration, and yet it has a basis of truth w^hich excuses, 
if it does not justify, this expression of his pleasure, for no 
colours can possibly represent vividly enough the charm 
of radiance which you can see by looking closely at dew- 
sprinkled leaves and flowers." 

169. IN AKUNDEL PARK. 

Water-colour drawing^f 1 ft* 6 in. high by 2 ft< wide. Painted in 1838. 

Presented by Mrs, Christopher James. 

Anindel Park, in Sussex, contains the niins of an old Castle dating from 
the time of Edward the Confessor. The best view is obtained from the brow 
of a hill at nearly the highest part of the park* The castle rises in the middle 
distance, oak and beech woods sweep down over the heights to the lake 
below, and far off the sea fringes the wide landscape. Turner, in his Ritftrs 
of England^ made his beautiful drawing from about this point The estate 
belongs to the Duke of Norfolk* 

FORBES (Stanhope A.), A.R.A. 

Stanhope A* Forbes was born in Dublin, 1857, his father 
being then manager of the Great Western Railway in 
Ireland. He was educated at Dulwich College, and at the 
Lambeth School of Art, and in 1874 entered the Royal 
Academy Schools. Later he went to Paris, and worked 
in the studio of Bonnat, making sketching tours in the 
country. He paid three visits to Brittany, painting three 
pictures, which were exhibited at the Royal Academy in 
1882, 1883, and 1884. In the latter year he went to 
Cornwall, and stumbled on the fishing-village of Newlyn, 

62 



where he has worked ever since. An artistic colony soon 
sprang up there^ which has already given a name to a 
school of English painting. The members of this 
*' school" are for the most part realists in spirit, and 
students of French methods of technique. They believe 
in ** open air '' methods of work, and it is the possibility 
of painting out of doors all the year round that has brought 
Cornwall into favour with so many of them. The equable 
grey climate, which allows the study of the model in 
diffused daylight, is another thing which has recom- 
mended it to them. Mr. Walter Langley was the 
original settler. In 1885 he exhibited "A Fish Sale"; 
*'Off to the Fishing Ground," in 1886; ''Their Ever- 
Shifting Home," in 1S87 ; '* The Village Philharmonic/' 
in 1888 ; *' The Health of the Bride/* in 1889 ; '* By Order 
of the Court/' in 1890 ; *' Soldiers and Sailors/' in 1891 ; 
and " Forging the Anchor/' in 1892, in which year he was 
elected an Associate of the Royal Academy. Since then 
he has painted a number of important pictures, including 
**The Lighthouse/* in 1893, now in the Corporation of 
Manchester Art Gallery, Among his portraits is one of 
Alderman G. J. Johnson, painted for the Birmingham 
General Hospital. He married Miss Elizabeth Arm- 
strong, who is herself a well-known member of the 
Newlyn group. 

170. THE VILLAGE PHILHARMONIC 

I On canvas, 4 ft. jj in, high by 5 ft. 6^ in. wide. Painted in 18S8. Gold Medal, Paris, 

1891. See Ilhistration. 

FOSTER (Birket), R.W.S. 

Myles Birket Foster was born at North Shields, February 
4th, 1825. He was educated at the Quaker Academy in 
Hitchen, and when quite a child determined to be an 
artist. When sixteen he was apprenticed to E. Landells, 
the well-known wood engraver, by whose advice, after he 
had practised engraving for a short time, he became a 
I draughtsman, and began to paint in water-colours in the 
fields round London* At the age of twenty-one, on the 



completion of his apprenticeship, he illustrated several 
children's books^ and did much work for the recently-started 
lilustraied London News. He obtained employment as a 
draughtsman under Mr. Henry Vizetelly, and made illus- 
trations for Longfellow's *^ Evangeline '' and Rogers* 
*' Italy," the latter having an extraordinary success. He 
continued to supply great numbers of cuts to picturesque 
and sentimental verse and domestic poems. In some of 
these tasks he was associated with Sir John Gilbert, and 
later on found in etching many opportunities for the display 
of his skill. In one method or another, before he made his 
mark as a painter, he produced over one thousand woodcuts 
for book-illustrations. In 1858 he gave up this class of 
w^ork, and began water-colour painting, the firstfruits of 
which was the appearance at the Academy, 1859, of a 
drawing called **A Farm/' In i860 he was elected an 
Associate of the Royal Water-Colour Society, and a full 
member in 1862 ; and from that date was one of the most 
popular as well as the most indefatigable contributors, 
his work altogether amounting to about 350 drawings. 
Between 1869 and 1877 he exhibited fourteen oil-paintings 
at the Royal Academy. In 1876 he was elected a member 
of the Royal Academy of Berlin. The greater number of 
his water-colour drawings were transcripts of the scenery of 
his favourite county Surrey, varied with sketches made 
during his frequent visits to the Continent For nearly 
thirty years he lived in a charming house, built by himself 
at Witley, in Surrey. He died, after a very long and 
painful illness, in March, 1899, He was twnce married— 
the second time to a sister of the late John D, Watson, 
the artist. 



171. WORMS CATHEDRAL. 

Water-colour drawings, 8| in. high by I2f m* wide. 
Frtsentid by tht Trustees of the Fublk Ptcture Gallery Fund. 

The Cathedral of Worms, erected in the twelfth century, vies with Mayence 
and Spires as the representative building of Gennan Romanesque architec- 
ture of the period. The city of Worms, on the Rhine, is famous as the 
place where the imperial diet was held, before which Martin Luther was 
summoned in 1521, and by which he was proscribed. When warned of 

64 




u. 



his danger, he said : ** If there Here as many devils in Worms as there are 
tiles upon the roaf of its houses, I would go on/' He acknowledged his 
writings before the assembled notabilities, and left the town^ to all purposes^ 
a conqueror, though he had to remain in seclusion for about a year under 
the protection of the Duke of Saxony. 



GAINSBOROUGH (Thomas), R.A. 

Thomas Gainsborough was born at Sudbury, in SuflFolk, 
in the spring of 1727, After evincing a decided ability for 
landscape painting by his unaided attempts from nature, he 
left Sudbury for London when he was fourteen years of age, 
and became the pupil first of Gravelot, the engraver ; then 
of Francis Hayman, at that time a painter of repute, and, 
like Gainsborough himself, one of the original members of 
the Royal Academy, which was founded in 1768. Gains- 
borough set up as a portrait and landscape painter, in 
Hatton Garden, but without success, and after four years* 
residence in the metropolis, he returned to his native place* 
When still a youth he married Margaret Burr, a young lady 
of some fortune, and moved to Ipswich in 1746, Out of 
his first pictures which attracted notice was a view of 
Landguard Fort, of which there is a print by Major ; the 
picture has perished. Acting upon the advice of his friend 
and patron, Philip Thicknesse, he settled, in 1760, in Bath, 
as a more suitable field for the exercise of his abilities. 
There he was l^asfly engaged with portraiture, which sub- 
sequently occupied the greater part of his time. In 1774 he 
went to London, and rented a portion of Schomberg House, 
Pall Mall ; from this period his reputation was such that he 
was considered at the same time the rival of Sir Joshua 
Reynolds in portrait, and of Wilson in landscape, painting. 
In 1779 he was at the very height of his fame ; all the 
eminent men of the day sat to him, and he was the favourite 
painter of the King and Royal Family. He was one 
of the original members of the Royal Academy, and 
Sv* " pictures to its exhibitions from the first one in 
1769, b»;t ceased to contribute after 1783. He ex- 
hibited ajrogether ninety-six works at the Academy. He 
died in Eondon, August 2nd, 1788, and was buried in Kew 



Churchyard. Shortly after Gainsborougfh's deaths Sir 
Joshua Reynolds, then President of the Royal Academy, 
delivered a discourse to the students, of which the 
"Character of Gainsborough *' was the subject. Gains- 
borough will always occupy one of the highest places in the 
English school, whether as a portrait or landscape painter. 

172. SIR CHARLES HOLTE, OF ASTON HALL. 

On canvas, oval, 2 t\, 5I in. hig*!! by 2 fi, wide. See iUustraiion, 

Presented by Mr, Charles Nolle Bracebrtdge. 

Sir Charles Holte, sixth Baronet, of Aston Hall, near Birmingham, was 
bom November 24th, 1721. He married, in 1775, Anne, daughter of Pudsey 
Jesson, Esq., of Langle>% Wan^ickshire (for her portrait by Romney, see 
No. 282). He succeeded his brother, Sir Lister Holte, in 1770, In 1774 
he was returned to Parliament as one of the members for Warwickshire* 
Throughout his life he resided at Erdmgton Hall, never occupying Aston 
Hall, which had been bequeathed to his brother^s widow for life. He died 
at his London residence, 6 Portman Square, on March 12th, 1782, and was 
buried at Aston. 

GEETS (V^illem). 

This well-known Belgian artist, who studied under Baron 
Leys, was at one time professor of historical painting in the 
Malines Academy of Arts* Several of his historical works 
have been enlarged and reproduced in tapestry at the Royal 
Factory at Malines. He gained the Gold Medal at Ghent, 
and has received the Cross of the Order of Leopold ofj 
Belgium, 

175. A MARTYR OF THE SLXTEENTH CENTURY: JOH.ANNA 
DE SANTHOVE, A LUTHERAN, LED OUT TO BE 
BURIED ALIVE. 

On canvas, 5 ft. 1 1 m,high by 8 ft. 6 tn. wide. Painted in 1883. Exhibited R,A. 1884. 

Presented by the Right Hon, William Kenrick, P.C. 

Philip IL of Spain established the Inquisition in the Netherlands, in 1566, 
but the Hollanders, having zealously embraced the reformed doctrine, 
revolted against it. He sent Fernando Alvarez, Duke of Alva, to quell this 
rebellion in 1567. He governed the countn* with the utmost severity, and 
treacherously executed the Counts Egmont and Horn, who had endeav- I 
oured to moderate the tyranny of his rule. He was recalled in 1573, after.! 
having pot to death about i8,aoo people in the course of six years. The] 
year before he left the Low Countries^ William, Prince of Orange, bega 
the famous revolt which ended in the declaration of the Independence of ^ 
Netherlands. 

66 



No. 172. 



SIR CHARLES HOLTE. 

THOMAS GAINSBOROUGH, ft. A. 



m^P recorded in Che o]d i«S^^ ^ *^ Catbedrml, <t Ghent, in Flmidttn* 
dtfl doEii^ tbe time tht InqviatiaB ms M. its bei|^ht, two men (Laii^p ukI 
Ifolton) were execnted &t Ypres» afid mko dwt Jeanette de S&nthove WM 
buried afive in 15116, at Malioes, Frcon this entry Pititfessor Geets painted 
this picture. 

Sarthoi^e is a scb&U vilUf^e about twelve imles fiom Antwerp, 

GEOFFROY Qean). 

Jean Greoffroy, a welKknown French artist, was born at 
MaremiK an March ist, 185J, and studied under Levasseur. 
He first exhibited in the Salon in 1874. In i88t he 
received an Honourable Mention for his picture ** La Petite 
Classe/' which is exhibited here under the title of •*The 
Infant School/' In 1883 his ** Les Infortuncs^' recei\'ed the 
first medal of the third class at the Salon, and was bought 
by the State for the Luxemboui^. Most o( his pictures 
have been made popular by engrravings. He has also 
worked in water-colours and as an illustrator. 



1 74^ THE rNFANT SCHOOL f LA PETITE CLASSB •>, 

i\ tn. wide Painted in l38i. Exi 
S&lon« 18S1. 

Presmied by Sir John C HoUkr. BarL 



On canvas* 1 ft tt io. high by 4 ft. a) tn. wide Painted in i38i. Exhibited ^tiMin 

Salon, 18S1. 



I 



GILBERT (Sir John), R.A, 

Sir John Gilbert, R.A., President of the Royal Society of 
Painters in Water-colours, was born in 1817, He received 
but little instruction in art, being only indebted to George 
Lance for a few lessons in colour. In 1836 he exhibited his 
first picture at the Royal Academy, and from that date unti 
his death he exhibited many well-known pictures. For 
many years his name was very familiar as an illustrator of 
books, pictorial newspapers, and other weekly publications. 
Many of the best known of the English Classics were 
illustrated by him, including Shakespeare. He was elected 
an A.R.A. in 1872, an R.A, in 1876, and President of the 
R.W.S. in 1 87 1, Shortly afterwards he received the honour 
of Knighthood, He was a Chevaher of the Legion of 




a 



?^ 



Honour He died on October 5th, 1897, In 1893 he 
presented twenty-two pictures to the Birmingham Art 
Gallery, as a mark of his appreciation of the efforts made 
by the Corporation for the encouragement of Art. 



175. THE TAMING OF THE SHREW. 
On canvas, i ft. 11410. hi^ by a ft« 11 in, wide. Painted in 1859—61. 

Present by Mr, R. Z. Chance, 

Petnichio, a gentleman of Verona, undertakes to tame the haughty Kath* 
erine, daughter of Baptista, of Padua. Although very beautiful, she is a 
shrew. He marries her, himself dressed in rags, and after bringing bef 
home, gradually brings her to submission by feigning a most ungovernable 
temper. The picture illustrates the scene that takes place on his first arrival 
home with his bride, 

Petruckio, Where be these knaves ? what, no man at the door. 

To bold my Jitirrup, nor to take my horse ? 

Where is Nathaniel, Gregory, Philip ? 
AU S^rtianU*. Here, here, sir ! here, sir ! 
P9tru€hw. Here^ sir f here, sir f here^ sir I h£r§, sir/ 

You toggferheaded and unpo1ish*d grooms ! 

What, no artendance ? no regard 1 no duty ? 

Where is the foolish knave I sent before ? 

Grumti^, Here, sir I as foolish as I was before. 

• • • « • 

Fetruchi^, Go, rascals, go, and fetch my supper in, 

Shakespeare, Taming 0/ ih4 SKrrm, Act /K, Sctm€ /. 

T?ie following collection oj Ten Pictures, with Twelve others in the 
Council House and elsewhere, were presented by the Artist to the City of 
Birmingham, in April, i8gj, as a mark of his appreciation of the efforts 
made by the Corporation for the advancement and encouragement of Art. 

176. THE RETURN OF THE VICTORS. 

On canvas, 4 fL 6 in. high by 9 ft. wide Painted in 187S-9. Exhibited R.A., 1879. 

Presented by the Artist, 

177. THE MURDER OF THOMAS A BECKET. 
On canvas, 3 ft. 3} in. high by 4 ft. i| in. wide. Exhibited R. A., 1883. 

Presented by the Artist 

Thoraas a Becket, bora 11 18, was Chancellor to Henry IL in 1155, and 
was elected Archbishop of Canterbury in 1162* Two years later he quar* 
relied with the king, was condenuied for mal -administration while Chancellor, 
and fled to France. He was formally reconciled to Henry in 1 1 70 at Frel- 
ville, and returned to Canterbury. He excommunicated certain bishops, 
which caused the king to speak the weil-known hasty words against hiicB. 

68 



H 




Four of Henry's knights, Hugh de Morville, Reginald FiUursCi Williaflo 4e 
Tracy, and Richard Brito, acting on these words, crossed to England, aod 
murdered the Archbishop in his Church, December 29th, 1170. He was 
canonized in 1 173 by Pope Alexander IH. The impression that his martyrdom 
made on the popular mind was very deep, and for three centuries after his 
death, bis shrine was the favourite place of pilgrimage for Englishmen. 



u 



178, THE BAGGAGE WAGGON. 

On canvas, 2 fL bis^b by a ft 5 in. wide. Painted in 1864. E^chibited R.S.B.A., [884. 

PresenUd hy ike Artist 
9. FRENCH CUIRASSIERS OF THE GUARD. 

On canvas* 1 ft, 54 in. high by 1 fL ii| in. wide. 

FnsenUd by the Artist 



180. THE INFANTA : SOUVENIR OF VELASQUEZ. 

Water-colour drawing^, 1 fl. 11 in. hig'h by i ft. ii^ tn. wide. Painted in 1887. 
Exbibtted RW.S., 1888. 

Presented by the Artist. 

181. BRINGING UP THE GUNS. 

Water-colour drawing^, i ft. 8 in, high by z h, xi in. wide. Exhibiled R.W.S, 

Presented by tfu Artist. 

182. THE PHANTOM HORSEMEN. 

Water-colour drawing, i ft. 8 in. high by 2 fL 11 in. wide. 

Presented by the Artist 

183. DUNCAN'S HORSES. 

Water-colour drawing, 1 ft. 2f in. high by 2 ft. 11 J in. wide. Painted in 1891. 
Exhibited R.W.S., 1891. 

Presented by the Artist. 

One of the prodigies said to have taken place after the murder of Duncan 
by Macbeth. 

** RosM. — And Duncan's horses— a thing most strange and certain, 
Beauteouii and swift, the minions of their race, 
Turned wild in nature, broke their stalh, flung out. 
Contending 'gainst obedience, as they'd make 
War with mankind. 

Old Man, — 'Tis i^aid they eat each other. 

Ross. — They did so^ to the amazement of mine eyew 

That looked upon't. Shakespeare, MacMh^ Act lLfSceH4 IV, 

These prodigies attending the murder of the king are thus described by 
Holinshed ; — ** Horses in Lothian, being of singular beaut)^ and swiftness, 
did eat their own fleshy and would in no wise taste any other meat. Ther« 
was a spar- hawk also strangled by an owL Neither was it any Jess wonder 
that the sun aii before ts said, was continually covered with clouds for six 
months' space.'' 



iS4- CARDINAL WOLSEY, CHANCELLOR OF ENGLAND, ON 
HIS PROGRESS TO WESTMINSTER HALL. 

Water-colour drawing, t ft. 2 in. high by 1 ft 8^ in* wide. Painted tn 18B7. 
Exhibited R. W*S,» 1888. S^e lUvstratwn, 

Presented by the Artist, 

The first study for the laige picture in the City of London Art Gallery. 

'* I have touched the highest point of ail my greatness.*' — ShiJUsfigart* 

" He would issue out to them, appareled all in red in the 
habit of a cardinal, with a tippet of sables about his neck, hold- 
ing in his hand a very fair orange^ whereof the meat or sub- ■ 
stance was taken out and filled up again with the part of a ■ 
sponge, wherein was vinegar or other confections against the 
pestilent airs, the which he commonly smelt unto passing among the press, 
or else when he was pestered by many suitora. .... Then his gentlemen 
ushers cried and said, * On my lords and masters, on before, make way Tor 
my Lord's Grace.' '* Cavendish's Life of Wolsey. 

185. AFTER THE RAID: SKETCH. 
Water>ca]oiir drawing, io| in. high by i fL 5^ in. wide. Exhibited R.W.S., 

Fresented by the Artist, \ 

First design for the large water-colour drawing, " After the Battle." 

GLOVER (John). 

John Glover, the son of a small farmer, was born at 
Houghton-on-the-Hill, in Leicestershire, February i8th, 
1767. He received a plain education, and as an artist was 
self-taught. In 1786 he was elected master of the Free 
School at Appleby, where he practised painting and 
cultivated music with success. In 1794 he settled in 
Lichfield as a teacher of drawing. Until that time he had 
worked only in water-colours, but he now began the practice 
of oil. He was one of the promoters of the Water-Colour 
Society, contributing to its first exhibition in 1805, and was 
elected President in 181 5. At that time he was living in - 
London. In that year he visited Paris, and afterwards f 
Switzerland and Italy, and received a gold medal from 
Louis XVII I , for a large picture which he painted in Paris. 
In 1818 he left the Water-Colour Society, and became a 
candidate for the Royal Academy, but failed. In 1824 he 
was one of the founders and a member of the Society of 

70 




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British Artists, and exhibited there until 1830. In iS^i He 
emigrated to Australia, to the Swan River Settlement, 
where he set \'igorously to work upon transcripts of 
scenery new both to him and to art. He died at Launceston, 

L Tasmania, December gth, 1849^ aged 82. 
1 81 
I 



186. 



LANDSC\PE, WITH TREES AND CATTLE, 

Water-cotottr drmwins, i if iik big:li by i ft 4} ta* widf^ 



GOODWIN (Albert), R.W.S. 

Mr. Albert Goodwin is well-known as an accomplished 
and imaginative water-colour painter, whose pictures have 
received high praise from John Ruskin and other critics. 
He was elected an Associate of the Royal Water-Colour 

^ Society in 1871, and a Member in 1881. Since i860 he has 
been a constant exhibitor at the Royal Academy and other 
Galleries. An exhibition of his drawings was held in 
London in i886« 
•■ 
Ca 
u 



187. 



THE GRAVE OF THE COASTER. 

Water-coiour drawing, i fl. j| tiL high by i d^ 7I in. wide. 



GORDON, (Sir John Watson), R.A, 

Sir John Watson Gordon, R.A,, P.R.S.A., the son of 
Captain Watson, R-N,, was born at Edinburgh in 1790. 
He was intended for the Engineers, but for a time was 
placed at the Trustees' Academy, Edinburgh, under John 
Graham, to improve himself in painting, which art he sub- 
sequently adopted as a profession ; and later on he had 
access to the studios of Sir Henry Raeburn and his uncle, 
George Watson, first President of the Royal Scottish 
Academy, In 1826 he became a Member of the Royal 
Scottish Academy, then recently founded, and took the 
name of Gordon, as there were so many painters of the 
name o{ Watson in Edinburgh at that time. In 1827 he 
exhibited at the Royal Academy, London, was elected an 
Associate of that body in 1841, and full Member in 1850, 
and the same year succeeded to the Presidency of the 

7t 




Scottish Academy, was appointed Limner to the Queen for 
Scotland, and knighted. He died rather suddenly on June 
I St, 1864. 

His portraits are remarkable for simple and decided treat- 
ment and truthfulness of character, particularly in the 
delineation of men distinguished for intellect or shrewdness. 

188. DAVID COX. 

On canvas, 4 fu i in. hig'h by 3 ft* 3^ in. wide. Exiiibited R.A* 1856.^ See lUusiratwn. 
Permanent Loan from the Council of the Midland Institute. 

This well-known portrait of the artist was painted by Sir John Watson 

Gordon in 1855. 

Regarding the painting of this portrait, Mr. William Hall wrote—" On 
the next morning after their arrival, Cox and his companions visited Sir John 
Gordon at his rooms in George Street. He received them very cordially^ 
shaking Cox warmly by the hand, and saying, in a broad Scottish accent, 

* Welcome to Scotland, Maister Corks!' Everything was ready for the first 
sitting; the rostrtim, with a chair (once the property of David Wilkie) fixed 
upon it, was placed in position ; close beside it stood the easel with a virgin 
canvas waiting for the first strokes of the pencil, and soon the work was 
commenced. Although a good deal broken in constitution, Cox carried in 
his complexion much ruddy, healthy colour, and looked a splendid subject 
for a portrait — ^in fact. Sir John said he had not had a finer subject since he 
painted Sir Walter Scott, whom Cox, at that time, much resembled. The 
writer watched the progress of this portrait with great interest. It was 
executed in a very easy, straightforward manner. The various tints were 
laid on the canvas side by side, without being blended, very much like 
mosaic; and it began to be a likeness, striking and unmistakable, almost 
from the first touch. It was a great pleasure to observe the portrait growling, 
as it were, stroke by stroke, into a second David Cox, so close a resemblance 
it bore to the original, who was sitting beside it. With regard to the manner 
of painting, the writer remarked to the artist, * You do not appear to use 
a softener to blend your tints. Sir John.' * No,* said he ; * if you wish to 
make flesh look like leather, use a softener!* The picture progressed with 
unerring precision ; each sitting carried on the work with satisfaction to alt 
On one occasion poor Cox was very weary^ and seemed to be dropping off 
into a doze, when the painter, in his broad Scottish accent, exclaimed, 

* Wake up, noo, Maister Corks I I am going to do your expression/ Poor 
Cox, just on the borders of sleep, could not comprehend what was said to 
him, and, turning to his son, asked, 'What does he say, David?' In five 
sittings, on as many consecutive days, al! that was necessary to be done from 
the life was accomplished. The likeness was a great success." 

Ruskin, in his *' Academy Notes" for 1856, said of it: — ^" A very noble 
portrait, and in the unassuming but powerful features, thoroughly character- 
istic. I am heartily glad to see this work of honour to a good painter so 
well accomplished.*' 

72 ^ 



I 




No. 188, 



DAVIU COX. 



SJR JOHN WATFON GORDON, R.A., P.K,S.A. 



On ibe back, mitten bj Sir Watson Gordon, is the following: — "* Portrait 
' Mr. David Cox» painted by sidsscnplioa. and presented to him by a number 

friends and admirers of bis prolessionaJ eminence and pri> ate worth. To 
t ultiiziately placed in some public building in Birminghaio, his native 
own."— /Mn IVatsm Gardm. 

For memair of David Cox. see page 43, 
1S9. ARTHUR RYLAXD. 

On CMnva,s, 4 ft. 5 in, hig^h by 3 ft. b in. wide. 
Pemument Loan from the Council of the Midland fnseifuit^ 

Arthur Ryland belonged to an old Birmingham family, which for many 
generations had held an honourable position in the town. As staunch Non* 
|comformists they had been prominent in defence of the principles of civil 
land religious liberty. Arthur Ryland. bom in 1807. was the >nt>ungest child 
Ibut one of Mr. John Ryland, Low Bailiff of Birmingham in 1824. He chose 
[the law as a profession, and was articled to Mr. \\llliain Palmer, In 1851 
I he entered into partnership with the late Sir Thomas Martineau, He was 
[appointed Clerk to the Justices in 1838, and was Commissioner of Bank* 
iiuptcy, and also Clerk to the Guardians of the Assay Office. In 1852 he 
iblished a book, TAe Assay of Gold and Silver Ifarts. His public 
[life Ijegan when he was very young. He was an ardent Law Reformer, and 
[much interested in Legal Education. As a politician he was a consistent 
[Liberal. He joined the Town Council in 1854, and in i860 was elected 
1 Mayor, and had heavy work to do in connection with the Improvement Bill. 
He was a strenuous supporter of the Free Library movement in Birmingham » 
I and he founded the Birmingham and Midland Institute, and was constant 
in its services up to the time of his death in March, 1877. 

GRAHAM-GILBERT (John), R.S.A. 

John Grahani'Gilbert^ a Scottish portrait painter, son of 
"a West India merchant named Graham, was born at 

Glasgow, in 1794- When about twenty-four he went to 
iLondon, and entered the Royal Academy Schools. In i8ai 
[he gained the Gold Medal for painting, and went to ftaly 

for two years to study the Old Masters^ particularly the 
(Venetians- In 1827 he moved to Edinburgh, and in rSjo 
[was elected a Member of the Royal Scottish Academy. 
[Soon after this he married and settled in Glasgow, adding 
[his wife*s name, Gilbert, to his own. He was an occasional 
[exhibitor at the Royal Academy. He died at Yorkhill, near 
[Glasgow, in 1866. He executed many fancy studies of 
[young girls, especially Italian, and other subjects, besides 

many portraits ; his drawing was good and natural, and his 

1i 



colouring rich in tone, his portraits especially recallingf the 
Venetian richness of painting. There is a portrait of Sir. 
Walter Scott by him in the National Portrait Gallery, and 
others in the National Gallery of Scotland. The collection 
of pictures which he made was bequeathed by his widow, in 
1877, to the City of Glasgow, and forms a valuable feature 
of the Corporation Art Gallery. 

190, WILUAM MURDOCK, 

On canvas, 4 fl. 5 in. hig^h by 3 ft. 6 in. wide. 

FresefUed by Mr. W, Murdoch. 

William Murdock, inventor, was bom near the village of Auchinleek, in 
Ayrshire, 1754. ^\s, father was a miller, and Murdock was brought up toj 
this occupation until he was 23, when he entered the employment of Messrs*] 
Boulton and Watt at the Soho Works. Shortly afterwards he was sent ta] 
Cornwall to superintend the fitting of Watt's engines. He carried a series of J 
experiments in the distillation of coal gas so far that in 1792 he was able tol 
use his new invention for lighting his cottage and offices. On his return to 
Birmingham he became a partner in the firm, and made such progress ifi the 
discovery of practical methods for making, storing, and purifying the new. 
Hluminant that in 1812 the whole of the exterior of the factory was lighted' 
in celebration of the Peace of Amiens. He also made important improve- 
ments in the steam engine, besides introducing the double D slide-valve. He 
retired from business in 1853, and died in 1839. 

HALL (V^illiam). 

William Hall was born in Bristol Street, Birmingham, 
on November i8th, 1812, He was apprenticed to his 
father, who was a worker in fancy tortoiseshelL He 
disliked the trade so much that after completing his 
apprenticeship he gave it up and went to London to study 
art. After a year's residence in London, where he copied 
pictures in the National Gallery, he returned to Birmingham, 
and began to employ himself as an artist. He exhibited 
regularly here, and occasionally in London, He was elected 
a member of the Royal Birmingham Society of Artists in 
1852, and for many years acted as its curator. He was also 
honorary curator to the Corporation Art Gallery. He was 
an enthusiastic admirer of the genius of his life-long friend, 
David Cox, whose biography he only completed a few weeks 
before his death, on April 24th, 1880. 

74 



iji. A PEEP OUT OF CHURCH : BETTWS-Y-COED. 
On camtt*, i A. ;| ia. kngh fay i ft. i^ in. wide. 

PrvseHtfdfy .Vr. W. E, Ewn//. 



HARDING (J. D.) 



Il 



( J^i/rr drawinj^ by /arn£s Z>* Harding ( ijg8^286j), fanning- />4iri 0/ the 
•• Gr^kic lUustrations af IVarwuJtskire/' a permanen/ iomn from the 
Council af the Midland /nsiitu^, are aisa exhtbited : see special ca^aUgue 
rf" Old Birmingham and fVarwickshir^ Drawings/* price Ont i^f^u) 



HARRIS (Henry). 

Henry Harris, the son of a manufacturer, was born in 
Colmore Row, Birmingham, in 1805, and died in i865. 
He studied art under an artist named Rider, of Leamington. 
His early works attracted the attention of the Duchess 
of St. Albans, By a rich bachelor, of the name of 
Wilton, he was induced to visit and study in London, and 
exhibited at the Royal Academy, where his works were well 
hung and favourably criticised. An admirer of Gains- 
borough, Collins, Constable, and Cox, he devoted himself 
almost entirely to the painting of landscapes. He was 
secretary of the Birmingham Society of Artists from 1852 
to 1859, and was one of the artists who helped to found the 
Society. 



192- THE BURNING OF YOKK MINSTER. 

On canvas, 5 ft. high by 4 ft* o^ in* wide. 

Permanent Loan from the Council of the Midland Institute. 

York Minster^ dedicated to St Peter, has, since its foundation about 6^5, 
fi\^ tiroes been destroyed by fire. It was set on fire by Jonathan Martin* a 
lunatic^ on 2nd February 1829, when the roof of the choir and its intemaJ 
fittings were destroyed. The damage, estimated at ^60,000, was repaired in 
1852 under Sir Robert Smirke. An accidental fire broke out, and in one 

'liour reduced the belfry to a shell, destroyed the roof of the nave, and much 
damaged the edifice, 20th May, 1840. This was restored by Sidney Smirke, 

l&t a cost of ;£423,ooO; in 1841. Martin was a brother of John Martin, the 
vell-known painter. 

1% 



193* DISTANT VIEW OF BIRMINGHAM. 

Wftter<olcHir dmiMrifi^f 84 in. high by 1 1 m. wtd«. 

Presented hy Mr. Allen Edwards* 
Sketched from Camp Hill, October i%U 1835. 



HEMY (C. Napier), A.R.A. 

C, Napier Hemy, the son of a well-known musician in 
the north of England, was born in Newcastle-on-Tyne^ 
May 24th, 1841. In 1850 his family migrated to Australia, 
and it was on the voyage that the love of the sea became 
part of the nature of the future painter. Returning to 
Newcastle in 1852, he attended the local School of Art 
under W- Bell Scott. He was destined for the priesthood^ 
but his love of the sea was so great that he apprenticed 
himself to a collier-brig* The life was very rough, and his 
father got his indentures cancelled. At the age of seventeen 
he again sailed before the mast to the Mediterranean, but 
illness put an end to the voyage. He then entered the 
Dominican Monastery at Newcastle, from whence he was 
sent to France to a branch at Lyons, but he left at the age 
of twenty-one, and became a painter* He came under the 
influence of the Pre-Raphaelites, and for three years followed 
their tenets strictly, painting coast scenery, chiefly at 
Clovelly, direct from nature. He went to Antwerp in 1867, 
and studied under Henri Leys, returning to England upon 
the death of his master about three years later. While 
under Leys he determined to paint sacred subjects^ but on 
returning to London in 1870 he began to paint the sea 
again. He lived in London until 1881, and made his first 
hit with his picture ** Saved' in the Grosvenor GaUer)% 
l88o» In 1883 he went to Falmouth, w^here he has since 
resided, and much of his painting is done on board his 
yacht. Since then he has painted many well-known marine 

tictures, and has made a number of illustrations for books. 
le was elected an A.R.A. in 1898. 

1^. HOMEWARD. 

On CKAvrnA, J fl. tiigfl t)r 4 it 6 in. wid#. Painted io 1885, and exhibited 

Gallerjr in thm yewt. 

76 



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I 
I 

I 



I 



I 
I 

I 



HENSHAW (F. H.). 

Frederick Henry Henshaw was born on the nth of 



December, 1807, 



Edi 



id Street, Birmingham, where 



m namund :!jtreet, isirmingnam, wr 
his father then lived in a house on the site now occupied by 
the University, He was educated first at the branch school 
of King Edward s foundation, in Shutt Lane, and at the 
age of thirteen was removed to the Grammar School in 
New Street, His earliest lessons in drawing were derived 
from the use of copies made by two of his brothers in the 
drawing classes conducted by Samuel Lines, and used by 
him at home. Some regular instruction was received from 
Mr. Downes, the teacher of drawing at Shutt Lane, and 
later he passed under the care of J. V. Barber, who taught 
drawing at the Grammar School. Mr. Barber, struck by 
the capacity of his pupil, desired to give him a thorough 
training as an artist, and consequently Henshaw, at the age 
of fourteen, was articled to him ; his companions, some of 
them also articled, including T, Creswick^ landscape 
painter, afterwards an Academician ; J. J. Hill, figure 
painter; H. Room, portrait painter ; and J. T. Willmore 
and R. Brandard, who became famous as engravers of 
Turner's works* In 1826 he went to London, and studied, 
as far as they were accessible, the works of the chief masters 
of English landscape, especially those of Turner, which 
impressed him with a life-long feeling of admiration and 
emulation. In the same year he exhibited his first picture 
at the rooms of the Birmingham Society of Artists. In 
1828, on completing his articles, he began to exhibit in 
London, and for several years was a contributor to the 
exhibitions of the Royal Academy and the Society of British 
Artists. His works attracted much attention, commanded 
a ready sale, and obtained for him the friendship of many 
collectors and amateurs of high social and artistic position, 
by whom, as also by artists of note, he was pressed to make 
London his permanent residence. He had, however, too 
strong an affection for his native town to be tempted away 
from it. Like his friend, David Cox, he felt that Birming- 
ham was his home, and therefore, in 1833, he fixed himself 
here. The house which he first chose as his permanent 

77 




residence— The Cottage, Green Lanes, Small Heath — 
he occupied until the time of his death. 

In 1837 he visited the Continent^ remaining there until 
1840, sketching in France, Switzerland, and Italy, In 1841 J 
after spending some time in London, he returned to Bir-' 
mingham, and from then, excepting for the purpose of his 
annual sketching tours, he never left the town. These 
journeys began usually in June, extended until the chillness 
of autumn prevented out-door sketching, and were continued 
until advanced age rendered it unwise to incur the fatigue 
and risk of sitting for many hours in the open air. They 
covered a wide range within boundaries of the United 
Kingdom — in Scotland, Wales, and Ireland, the Yorkshire 
dales, the South and West of England, and the Midland 
Counties, particularly Cannock Chase, Church Stretton, and 
above all Packington Park, and the remains of the ancient 
Forest of Arden. In these districts, representative of all 
varieties of British scenery, Mr. Henshaw worked for several 
months each year, invariably painting in the open air, on 
the true principles of landscape art : scrupulous fidelity to 
nature and close attention to detail as well as to breadth of 
effect. The studies made under such conditions — finished 
pictures, indeed, rather than studies — were carefully pre- 
served by the painter^ and for many years adorned the 
ample walls of his painting room. It was only towards the 
latter half of his career that he could be induced to part 
with any of them, or even to exhibit them. The first study 
shown to the public was the magnificent '* Packington 
Oak,'' shown at the Society of Artists' Exhibition in 1869, 
and now in this Gallery (No. 196), In all varieties of 
mountain, river, and woodland scenery he will be recognised 
as a master, but it will be felt that his great strength 
lies in the painting of English woodland : in the faithful 
portraiture, so to speak, of individual monarchs of the forest, 
as in rendering the poetic beauties of sylvan glades in their 
various aspects, now of solemn shade, and now of brilliant 
yet chequered light* 

In 1886 a Special Loan Exhibition of nearly 200 works 
by Mr, Henshaw was held in the Corporation Art Gallery. 
He died October 12th, i8gi. 

78 



195- A FOREST GLADE. 

On canvasi 3 fl* i in, high by 3 ft. 9 in, wide. 

Presented hy the daughters of Mr, Timothy Kenrkfu 

196. AN OLD OAK. FOREST OF ARDEN. 
On canvas^ 3 ft. i\ in, hig:li by % ft. 9^ in. wide. Painted in 1850* 

Presented hy Mr, George Dixott, M.P, 

The Forest of Arden is a tract about 17 miles long and 12 miles broad, 
extending northward from the river Avon to the vicinity of Birmingham. 
This was anciently a forest, and originally but part of a still greater forest, 
between the Severn and the Trent held by the British Comavni. It was 
probably the t}^pe of Shakespeare's " Forest of Arden." The name signifies 
" The High Wood/' and much of the tract designated by it is now called 
the Woodland. 

197. THE APENNINES FROM TIVOLI, ITALY. 

On canvas, 2 ft. 6 in. high by z ft, o^ in. wide. Painted In 1847. 

Presented by Mr, /. Padniore. 

198. WORCESTERSHIRE SCENERY. ^ ^ 
On canvas, 3 ft- 6 in. hig-h by 4 ft. 11 in. wide. Painted in 1843. ,^V 

K Presented by Mr, J, H. Chance, 

HOLL (Frank), R.A. 
Frank Holl, R*A., son of the eminent engraver, Francis 
oil, A. R.A,, was born in London, July 4th, 1845. He 
was educated at University College School, Gower Street, 
When fifteen he entered the Academy Schools, subsequently 
taking medals and scholarships, and in 1864 first exhibited 
at the Academy Exhibition, In 1868 he gained a two 
years' travelling studentship for painting. From that time 
he painted many well-known pictures, the subjects being 
mainly of a pathetic and homely kind. He was elected an 
Associate of the Academy in 1878, and a full R.A. in 1884, 
In 1878 he exhibited the portrait of Mr. George Gibson 
Richardson, which, with the exception of his own portrait, 
was the first Holl ever painted, and its success led to his 
afterwards adopting portrait painting as his profession. 
In the following year his portrait of Samuel Cousins, the 
engraver, was still more successful, and from that date he 
was never without more commissions of this nature than he 

79 



could carry out, so that his last years were almost entirely 
devoted to portrait painting, in which he reached the highc 
distinction^ In 1888 he paid a flying visit to Madrid, bulj 
the fatigue thus caused, added to the strain of finishing hi 
portraits for the Academy, brought on an attack whicl 
proved fatal. He died on July 31st in that year, in the^ 
midst of a brilliant career. 



199, THE RIGHT HON, JOHN BRIGHT, M.P. 
On cftnvAs, 4 ft f in, hif h by 3 fL 3 in. wide. Painted in tS$2. 5m lUm iraHm* 
Permanent Laan from the Birmtngkam Liberal Associaium, 

The Right Honourable John Bright, M.P., son of Mr, Jacob Bright, of 
Grcenbank, near Rochdaie, was bom on November i6th, 1811, He entered 
his father's business, and became a member of the firm of John Bright and 
Brothers, cotton spinners and manufacturers) of Rochdale. At a compaxm- 
tively early age he began to give addresses on social and poHtico^economical 
subjects. He first distinguished himself in political life by becoming in 1859 
one of the earliest members of the .\nti-Com Law League. In 1845 he 
stood aa a candidate for Durham, but was defeated ; but his opponent, Lord 
Dungannon^ was unseated on petition, and John Bright was returned. He 
continued to sit for Durham until 1847, when he was returned for Manchester. 
During this period his activity in the House and on the platform was continu- 
(^us. He co-operated with Mr Cobden in favour of financial reform, mainly 
with a view to the reduction of our naval and military establishments. 
During Lord Aberdeen's ministry he denounced the policy of the Russian 
War with energy. After the defeat of Lord Palmerston in 1857, Mr. Bright 
was rejected by Manchester ; but a few months afterwards, on the death of 
Mr. Muntz; he was elected to represent Birmingham, and continued to do 
so until his death. He was an uncompromising advocate of the North during 
the American War, and afterwards renewed the struggle for reform of the 
electoral representation, by a wide extension of the suffrage, and a more 
equal distribution of seats. In 1868, he accepted office under Mr. Gladstone 
as President of the Board of Trade, retiring through ill-health in 1870. He 
was Chancellor of the Duchy of Lancaster in 1873-74, and again in 1880, 
when the Liberals were once more in office, but he resigned this position in 
1882, owing to the policy of the Government in Egypt. He was elected Lord 
Rector of the University of Glasgow, November 15th, 1880. On the question 
of Home Rule for Ireland, he supported the Unionist opposition to Mr, 
Gladstone's Bill, and his denunciations of the measure went far to ensure 
its rejection, and the subsequent return of a Unionist majority to Parliament 
He died on Saturday, March 30th, 1889, after representing Birmingham for 
thirty-two yeart. 



200. 



&i 



EDMUND TONKS. 

On canvas, 2 ft. high by 2 ft* 6 In. wide 

Beqtuathid hy Mr. Edmund T<mks. 



Edmund Tonics, ddest son of Mr William Tonks, the founder of the welJ- 
known Biimingham brassfotmdry firm now known as Messrs. Tonks and Son, 
Ltd., was bom in 1S24, and educated at King Edward's School under the 
head-mastership of the Rev. J, Prince Lee. From there he went to Queen's 
College, Oxford, where he took the degree of B-CX* He was intended for 
the Bar, to which his own inclination strongly tended, and he was accordingly 
called in May, 1847. After a few years, however, it became desirable that 
be should relinquish his profession, and return to Birmingham to assist his 
father in the business* To this new work he devoted himself with success, 
and to his intelligence and scienti6c knowledge were due several improve- 
ments in the brassfoundiy trade, and several ingenious inventions, such as 
the excellent metal book-rack which is now u ^n libraries all ovex the 
country. His literary sympathies found an op ^ in the management of 
libraries and kindred institutions. He was for iiany years a member of the 
Committee of the Birmingham Library, of which at one time he was presi- 
dent. He also served for a long period on the Committee of the Corporation 
Free Libraries, only retiring when his health broke down. He also took a 
strong interest in the foundation and management of the Shakespeare 
Library. He was an active member of the Committee of the School of Art 
under its old management, and when it was trarfsferred to the Corporation 
he was elected a life-member of the Museum and School of Art Committee* 
In 1870 he was elected a Councillor for Deritend and Bordesley Ward, but 
did not seek re-election in 1873. He was widely known throughout the 
coimtry as a horticulturalist, for which he had a passion, and at his home, 
Packwood Grange, near Knowle, he largely developed his favourite pursuit. 
His most important literary work in this direction was the preparation of 
a General Index io the first One Hutidred and Seven Volumes of Cur/ts's 
Botanical Magamine, published by Mr. Quaritch, I^ndon. He suffered 
greatly from ill-health during the latter years of his life, and died on February 
7 th, 1898. 

HOOK (J. C), R.A. 

James Clarke Hook was born in London, November 21st, 

1819. His father, Mr, James Hook, was the Judge 

Arbitrator in the Mixed Commission Courts, Sierra Leone, 

^he future artist was entered as a student of the Royal 

Lcademy in 1836, where he took the first medals in the life 

md painting Schools in 1842. He obtained the travelling 

*nsion of the Royal Academy for two years, and in the 

same year married the third daughter of Mr. James Burton, 

Molicitor, and went to Italy, Mr. Hook was elected an 

K^ssociate of the Royal Academy in 1851, and attained the 

fiill honours of the Academy in i860. He exhibited ** The 

"lescue of the Brides o{ Venice,'' 1851 ; **Othello*s des- 

ription to Desdemona," 1852; and ^'Gratitude of the 

81 




\ 



Mother of Moses for the safety of her Child/* 1855, About 
this period Mr, Hook returned to his first inclination^ and 
devoted himself chiefly to pastoral and modern subjects, 
such as ''The Coast Boy Gathering Eggs/' 1858 ; '* Luff, 
Boy ! ** which created quite a sensation on its appearance in 
1859 ; " The Trawlers/* 1862 ; '' As Jolly as a Sandboy/' 
1872; **The Samphire Gatherer/' 1875; *'The Coral 
Fisher/* 1878; '* Mushroom Gatherers/* 1879; ** King 
Baby/' 1880; ''Caller Herrin'/' 1882 ; and since then he 
has painted many well-known works, too numerous to 
mention. 

201. FISH FROM THE DOGGER BANK. 
On canvas, 2 ft. 6 in. high by 4 ft. 6^ in» wide. Painted in 1870. 5« Illustration, 

A scene on the shore at Scheveningen, Holland, with three Dutch fishing 
boats or " pinks," riding at anchor In the foreground a group of women are 
bargaining about the sale of the fish which has just been landed by means of 
baskets flung overboard into the shallow water, which are then dragged 
ashore by the fishermen, who wade out into the sand-coloured sea. 



d 



HUGHES (Arthur). 

Arthur Hughes, bom in London^ 1832, although notone^ 
of the original members of the Pre-Raphaelite Brotherhood 
at its formation in 1848, being only sixteen at the time, was 
one of the foremost of the small group of men who took a 
prominent part in the art revolution, headed by Millais^ 
Rossetti, and Holman Hunt. He became a student of the 
Royal Academy Schools in 1847, and medallist in 1849, in 
which year he exhibited his first picture- It was in 185a 
that he exhibited his first serious effort, *' Ophelia/' which, 
procured him the friendship and encouragement of the Pre- 
Raphaelite Brethren. In 1854 he exhibited the '* Eve ol 
St. Agnes," and in 1856, *' April Love/* both exhibited in 
this Gallery in 1891. Shortly after this, on the invitation 
of Rossetti, he joined with him, and Burne-Jones, Morris, 
and others in the distemper paintings from the ** Morte 
d' Arthur," on the walls of the Union Debating Room at 
Oxford. Among his best known works are '* Home from 
Sea/' **The Font," *'The Music Party," ** Silver and 

82 




Gold, ^'The Reaper/' ** Mrs. Leathart and Children,*' 
•' Beauty/' *'Good Night," '' Home from Work" (the two 
latter being exhibited in Paris in 1867), ^'The Convent 
Boat/' '* Uncertainty/* ''The Old Neighbour gone before/* 
** The Property Room/' and the '* Dying Knight/' now in 
the Nottingham Art Gallery. For many years he has been 
well-known as a book-iliustrator, among his best designs 
being those for William Allingham, Christina Rossetti, 
George MacDonald, Tom Hughes, and Tennyson. Seven 
of his pictures were exhibited in the Birmingham Art 
Gallery in i8gi, including ''April Love/* "Diana and 
Endymion/' "The Eve of St. Agnes/' ** A Music Party/' 
** Ophelia/' and two of the three works now included in the 
permanent collection* 

202. THE ANNUNCIATION. 

On canvas, 1 ft. 10 in. higrh by i ft. 14 in. wide. Exhibited in the Royal Academy, 1858. 

20J. THE NATIVITY. 

On canvas, t ft. 10 in. hig-h by [ ft. i| in. wide. Exhibited at the Royal Academy, 1858. 

" Quite beautiful in thought, and indicative of graiider colourist's power 
than anything in the moras ; there is no other picture so right in manner of 
work, the utmost value being given to every atom of tint laid on the canvas." 
— /okn Ruskin, Academy Notes, 1858. 

204. THE LONG ENGAGEMENT, 

On canvaSf 3 ft. 5I tn. hig'h by 1 ft. 8| in wide. S^e IllustraHoH. 

PnsmUd by the Executors of Dr. Edwin T. Griffiths^ 

Painted in i859» the year after the production of the ** Nativity " and ** Annuncia- 
tion," and exhibited with the following: quotation from Chaucer added to the title : — 

'* For how myght ever sweetnesse hav be know 
To hym that never ta«ityd bitternesse? ' 

This picture is a good example of the minute and faithful rendering of 
details which was one of the leading characteristics of the English Pre- 
Raphaelite painters. 

HUNT (Alfred William), R.W.S. 

Alfred WiUiam Hunt, R.W.S. , was born at Liverpool, 
where his father was a drawingf-master, in 1830, and 
educated at the Collegiate School in that town. In 1848 
he gained a scholarship at Corpus Christi College, Oxford, 

83 



> 




> 



winning the ** Newdegate'* in 1851, and taking his degree 
in 1852. He was elected to a Fellowship in his College in 
1857. He first exhibited in the Royal Academy in 1854, 
making his first success there in 1856, with his picture 
*' Llyn Idwal/' which was much praised by Mr. Ruskin. 
In 1862 he was elected an Associate of the Society of 
Painters in Water-colours, and a full member two years 
later. He settled first at Durham, but in 1866 moved to 
Kensington, where he resided until his death A large 
number of fine specimens of his art were grouped together 
at one of the Winter Exhibitions of the Grosvenor 
Gallery some years ago, and a much larger collection was 
also shown at the Fine Art Society's Rooms in 1884* 
He is generally considered to be the most distinguished 
follower of Turner, and the chief upholder of the system of 
landscape art which endeavours to unite truth of light and 
poetical feeling with fidelity to nature. He died on May 
3rd, 1896. 

205. A NORWEGIAN MIDNIGHT. 

On canvas, 2 fL ii^ in. hig^h by 4 ft. 6 in. wide. 
Presented by the Trustees of tlu Public Picture Gallery Fund, 

206. WINDSOR, 
Water-colour drawing-, i ft j in, hig^b by I ft 9^ in. wide* Painted in 1891. 

HUNT (William Henry). 

William Henry Hunt was born in Old Belton Street, 
Long Acre, March 28th, 1790, He was a sickly child, and 
amused himself with drawing, and when old enough, was 
apprenticed to John Varley. In 1808 he was admitted a 
student of the Royal Academy, having exhibited three oil 
pictures in the previous year, and continuing to exhibit until 
181 1. In 1814 he connected himself with the Water-colour 
Society as an exhibitor. In 1824 he was elected an 
Associate, and in 1827 a full member. From this date he 
was a large and constant exhibitor. His best works are 
rich and harmonious in colour, full of sunny nature, 
especially his fruit and flower subjects. His figures are 
frequently full of quaint humour, especially his peasant 

«4 



I 



I 





No.:!04. THE LONG ENGXGENVE^T. 

ARIHUR HVOUES 



boys and girls. Of delicate health from childhood, he lived 
much at Hastings* He died in Stanhope Street^ London, 
February loth, 1864, in his 74th year. 

207. LOBSTER, CRAB, AND CUCUMBER. 

Water-colour drawing;, 5I in, hig-h by io| in. wide. From the collection of John Ruskio, 

HUNT (William Holman), H.R.W.S. 

William Holman Hunt, one of the three prominent 
members of the Pre-Raphaelite Brotherhood, was born in 
London in 1827, and exhibited his first picture at the 
Academy in 1846. His earlier subjects were taken from 
poetry and fiction, such as **The Flight of Madeline and 
Porphyro,'' in 1848; '* Rienzi,** in 1849; **Claudio and 
Isabella '' and ** Valentine rescuing Sylvia," in 1851, He 
began the series of religious and symbolical subjects, whereby 
he has since made himself best known, in 1850, with "A 
Converted British Family Sheltering a Christian Missionary 
from the Persecution of the Druids," followed by the 
'* Hireling Shepherd '* in 1852. The occult meaning of his 
'* Light of the World " and *' Awakening Conscience ** of 
1854, was explained by Mr, Ruskin in the Times. ** The 
Scapegoat '* was exhibited in 1856, and the ** Finding of 
the Saviour in the Temple" in i860. *'The Shadow of 
Death'' was completed in 1873. **The Triumph of the 
Innocents," now in the Liverpool Art Gallery, was com- 
pleted in 1885. Another and larger version of it belongs to 
Mr, John T. Middlemore. A nearly complete collection of 
his works was exhibited at the Fine Art Society's Rooms in 
1886, In the same year, Mr. Hunt wrote three articles on 
the Pre-Raphaelite Brotherhood for the Contemporary 
Review^ {See memoir of Rossetti,) A number of his 
pictures were exhibited in this Gallery in 1891 ; including 
** Strayed Sheep,*' **The Scapegoat/' *'The Shadow of 
Death/' and ** Isabella and her Basil Pot/* 

208. THE TWO GENTLEMEN OF VERONA — VALENTINE \/ 

RESCUING SYLVIA FROM PROTEUS. /\ 

On canvas, 3 ft. 3 in. high by 4 ft. 4 in. wide. Painted in 1852. 5#f Illustration. 

The subject of this picture is taken from the last act of Shakespeare's 
Two Gentlemen of Verona. 




This picture, which has been generally referred to as " Scene from the Two 
Gentlemen of Verona," was first called " Valentine r^cuing Sylvia from 
Proteus." It will be remembered that Proteus and Valentine had each gone 
from Verona to Milan to improve by travel and by seeing the wonders of 
the world abroad. Later on Julia, whose love Proteus had won, followed 
him disguised as a pa^e, only to discover that the false, fickle, and treach- 
erous wooer was endeavouring to supplant his friend Valentine in the affec- 
tions of Sylvia, the Duke's daughter. Failing in this base and ignoble design 
he betrayed to the Duke the intended elopement of the lovers, and thus 
procured Valentine's banishment. Under the pretext of urging the claims 
of Thurio, the suitor favoured of the Duke, he continued to impwDrtune 
Sylvia who, worried by him, by Thurio, and by her father, sought freedom 
by flying to Valentine* Proteus joined in the quest of the fugitive, and bad 
the fortune to rescue her from the hands of outlaws who bad made her 
captive. He, in vile, ungenerous fashion, took advantage of her defenceless- 
ness rudely to force compliance with his desires ; but Valentine had been a 
witness of the scene, and, interposing at the critical moment, rescued her. 
The facile repentance of the shall ow-natured roan was now expressed in 
terms of such hearty contrition that they induced Valentine to say — 

'* Who by repentance is not satisfied 
Is nor of heaven nor earth, for these are pleased. 
By penitence the Etemar* wrath appeased ; 
Ana that my love may appear plain and free, 
All that was mine in Sylvia I grive thee." 

But this is the utter wreck of poor Julia's hopes, who, with the strange infatu- 
ation good women have for worthless men, still doted on this faithless and 
treacherous Proteus, and exclaiming *' O me, unhappy !" seemed about to 
swoon away. This is the moment the artist depicts. The scene is one of 
pure bright sunlight, in which the brilliant colours of the gay costumes tell 
out with almost startling vividness. In the background are seen advancing 
the outlaws, with the Duke and Thurio, whom they have captured. Ii adds 
an interest to the picture to know that the Sylvia was painted from Miss 
Siddail, who afterwards became the wife of Dante Gabriel Rossetti. The 
beech-tree forest scenery was painted in Lord Amherst's park at Knowlei 
Kent. 

" 1 went at once to Sevenoaks with Rossetti, who wished to paint a sylvan 
background to one of the many fine designs which at this time he did not 
bring to a conclusion as oil pictures, A month's pleasant and busy stay 
enable us to return to town. Then the work of drawing from models 
and collecting materials had to be promptly undertaken, Mr, Frith, R.A., 
kindly lent me a suit of armour, which the servant at my lodgings announced 
as a tin suit of clothes. James Hannay, the journalist, contributor to "Punch " 
and Quarterly Reviewer, afterwards British Consul at Barcelona, sat for the 
head of Valentine ; and a young barrister, already well-known among journal- 
ists, and since greatly distinguished as a Cabinet Minister in the Antipodes, 
was good enough to let me paint the Proteus from his posing," — W. Holman 
Hunt 

** There is not a single study of drapery in the whole Academy (i 851), be 
it in large works or small, which for perfect truth, power, and finish could 

86 




b€ compared with the black sleeve of Julia, or with the velvet on the breast 
and the chain mail of Valentine, of Mr* Hunt's picture; or with the white 
draperies on the table of Mr. MilJais Manama. And further: that as studies 
both of drapery and of every minor detail, there has been nothing in art so 
earnest or so complete as thesp pictures since the days of Albert Durer. 
This I assen generally and fearlessly." — Ruskin, 

" Further examination of this picture has even raised the estimate I had 
previously fonned of its marvellous truth in detail and splendour in colour ; 
nor is its general conception less deserving of praise — the action of Valen- 
tine, his arm thrown round Sylvia, and his hand clasping hers at the same 
instant as she falls at his feet, is most faithful and beautiful, nor less so the 
contending of doubt and distress with awakening hope in the half-shadowed, 
half-sunlit countenance of Julia, nay, even the momentary struggle of Proteus 
with Sylvia just past, is indicated by the trodden grass and broken foHage 
€>f the foreground/* — Ruskin, 



r/ 



209. THE FINDING OF THE SAVIOUR IN THE TEMPLE. 

On canvas » 2 ft. 10 in, high by 4 ft yi in, wide. S€e lUusiraiion, 

Prtstnted by Mr. John T. Middiemore, M.P. 

" My idea was to paint the picture direct from the nature found in Pales- 
tine, and to learn* whilst living with the people, their ways and thoughts. 
Immediately I could amass funds that would in any way suffice, I started. 
It seemed well to try the experiment first in Egypt, where people had grown 
accustomed to Europeans, and where John Lewis had worked on modem 
subjects for seven years, not, however, without persistent difficulty in getting 
models. I landed at Alexandria towards the end of January, 1854, and 
worked perseveringly about Cairo, Gizeh, and down the Nile to Damietta, 
till the end of May. I then moved on to Jerusalem, by way of Jaffa. I had 
determined upon my subject. The meeting of St. Mary with her divine Son 
would enable me to work on the major half of the composition without the 
need of women sitters, who were not to be obtained. I had settled the 
general features of the composition when I arrived at the Holy City. It 
would be tedious to enter into the particulars of the difficulties that were 
encountered. These arose in the main from the suspicion of the Jews that 
my object had concealed under it the desire to convert the sitters* The 
Rabbis published an interdict against their humbler brethren coming to my 
house, and after four or ^vt months I had lost so much time, and my small 
store of money had so diminished, that there seemed no hope in devoting 
myself longer to this picture. I did not relish the prospect of returning to Eng- 
land to avow my defeat. I determined to take up the subject of the ' Scape- 
goat,^ for which I should need no human sitters. I went, therefore, a three 
days' journey to Usdoom, living in a tent while I painted the landscape of 
the picture. On my return to Jerusalem I spent several months in painting 
the remainder of the work. In the meantime Mr F, D. Mncatta arrived to 
relieve the poor Jews, and Sir Moses Montefiore came shortly after on the 
same benevolent errand. I knew they would understand the innocence of 
my object, and I appealed to them to explain this to the Rabbis. Their words 

87 



had the desired effect, and I was able henceforth with much less difficulty 
than before to obtain sitters ; so that I again took up the Temple picture, 
¥rith the happy result that I was able to complete the whole company of 
Rabbis and the head of St Joseph. The lines of the figures of the Saviour 
and the Holy Mother I had carefully expunged, to save the subject from 
detection by the suspicious Jews, and I had used caution in speaking of it to 
them simply as a representation of Rabbis in dispute, Fe%^er then, and a 
diminishing purse at the end of two years, warned me to return to England. 
Here I was able, by the kindness of Mn Mocatta, to make a tour of tnspec^ 
tion'of the Jewish schools in London, and from these I obtained the model 
for the Boy Christ, and for the child with the fly-whisk. The other two 
youths were painted from a youth whom I had known in Jerusalem as a child, 
and a young Hungarian Israelite found by the Rev. Ridley Herechell, father 
of the Lord Chancellor. It was only c^^mpleted in i860, six years after its 
commencement. I determined nol to let the work go unless the price offered 
me a chance of returning to Palestine, and I fixed 5*500 guineas upon it, 
including the copyright and opix)rtunity of first exhibition. Mr. Garabart 
gave me this, and in the course of about five years after the publication of 
the engraving he sold the picture to Mr Charles Matthews/'— H^, Holrmn 
Hunt. 

'* The Finding of the Saviour in the Temple " was chosen as a subject in 
May, 1854, when Mr. Hunt sailed to Egypt and thence to Palestine. The 
scene is a sort of loggia, approached by steps out of the Temple coiut^ and 
with a gilded lattice-work at the end. AH the accessories are exactly such as 
might have been seen at the actual time of the event depicted. Outside at 
the top of the steps sits a lame beggar. Below in the court the builders are 
at work on Herod's stiM unfinished Temple, and we catch a glimpse of a 
rejected comer stone. Over a richly-ornamented circular window runs in 
Latin and Hebrew the beautifully appropriate inscription, ** Behold the 
Lord Whom ye seek shall suddenly come to His Temple.'* At the back 
of this lecture hall a man is lighting the lamps, and a boy is driving out 
the doves with a long streamer of silk, A seller of animals is seen in the 
distance, and a family is entering who have taken a lamb from its forsaken 
ewe to sacrifice for their fiist-bom, whom they are bringing to the Temple. 
The Rabbis, seven in number, are seated around a semi-circular divan, and 
are richly dressed in Eastern costume. The nearest Rabbi is blind and 
very aged, a type of the Jewish Law akeady beginning to be effete and dead 
in useless formalism. At his feet sits a beautiful and brightly dressed child 
with a large flap to keep off the flies. The old man is grasping to his breast 
with trembling hands a huge roll of the Law on its polished sticks, wrapped 
up with an elaborate covering. One of the Levite boys behind him is rever- 
ently lifting this covering, and stoops down to kiss it With him are three 
others of the youthful Temple choristers with their musical instruments. 
Their attention is fixed on the Boy Christ, and one of them with a smile on 
his face gazes at His meeting with His parents through the strings of His 
harp. The old blind Rabbi has evidently been startled and alarmed by some 
answer of the Boy Jesus, and the Rabbi next lo hira is laying his hand on 
his, and holding in his left hand a phylactery which he has unbound from 
his own forehead, as though to appeal to one of the four texts contained 



I 



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88 



ed in A 



I 



its four cells. The next doctor is a siqgiilaHf handsome man in the prime of 
hfe, with dark beard and hair. He has a copy of the Law unrolled upon 
his knee, and has fixed his gaze on Christ in earnest thought. His neighbour 
is also deep in thought, and is resting the point of his stylus upon the thumb 
of his right hand in a very natural attitude, A Rabbi on the bench behind 
is stooping down to whisper to the neirt. Another is about to drink a bowl 
of wine which an attendant has poured out for him. He is making a pre- 
liminary libation, which the painter saw Rabbis do in the synagogue before 
drinking. Others wear an expression of complacent or patronizing indiffer 
ence- The Boy Jesus has just caught sight of His mother and Joseph 
as they have ascended the steps from the court* He has risen from His seat 
at the foot of the doctors and gone to meet them. His mother has drawn Him 
to Her with a look of intense and yearning love, but His thoughts are still 
far away. One hand lies passive in the tender grasp of the Virgin. With 
the other He is tightening the buckle of His tunic* while He seems to be 
saying, " How is it that ye sought Me? Wist ye not that I must be in My 
Fathers House ?" Joseph is behind the Virgin. His left hand holds the strap 
from which the bag of tools is hung over his shoulder. His right hand hovers 
with infinite awe and tenderness over the shoulder of the Divine Boy. The 
Boy Jesus is dressed in exactly the costume which is w^om to this day by a 
boy of the peasant class, with the single exception that it is ornamented with 
a fringe. His hair has the golden reddish tinge which was traditionally an 
element In the beauty of His ancestor David, and which is not uncommon 
in Jewish boys. Mr. and Mrs. F. D. Mocatta were interested in the picture, 
and Mr. Mocatta gave Mr. Hunt a letter by which he was permitted to visit 
all the Jewish schools in London, and select a boy who most nearly resem- 
bled his ideal. The Jewish lad selected was one of humble birth, and was 
Lat a school in Red Lion Square. The light coming through the outer edge 
of His hair, which stands out from His head* forms a natural nimbus. The 
great wish of the painter was to avoid all mene prettiness, alt touch of effemi 
nacy, in the painting of the Boy Christ. He wished to represent Him a> 
ready, gentle^ manly, full of the noblest and most heavenly thoughts, yet meek 
and lowly, and desiring to be subject to His earthly parents.'* — Archdeacon 
Farrar, in The Art Annual, for 1893. (By permission of Messrs. J. S. Virtue 
and Co., Limited.) 



HUTCHINSON (H.). 






A drawing fy Henry Huichinsan (iSoo^ji), forming part of the 
^* Graphic Illustrations of Warwickshire/* a permanetit loan front the 
' Midland Instit%ite, is exhibited : see special catalogue of** Old Birmingham 
and Warwickshire Drawings/' price One Penny. 



JACKSON (Frank G,). 

Frank G. Jackson was born in Birmingham, in December, 
1831, and educated at Steelhouse Lane School. He was 
apprenticed to a firm of modellers, embossers, and chasers. 



and received his art education in the Academy of Samuel 
Lines, and at the Society of Artists and School of Design 
in New Street. Later on he was engaged for some years 
by the firm of Messrs. Elkington and Co., the well-known 
silversmiths, as a draughtsman and designer. During this 
engagement he went to Paris to report upon the silver wares 
in the Exhibition and upon art education. As a result of 
this report he was appointed by the School of Art Com- 
mittee as a teacher of design in the evening classes in that 
institution. He also visited, again at the request of Messrs* 
Elkington and Co., the Vienna Exhibition of 1873, to 
report upon electro-plate and other wares. After taking 
three art master's certificates, he devoted his whole time to 
teaching at the School of Art, and to painting. He was 
also a frequent exhibitor at the Birmingham Royal Society 
of Artists and other exhibitions. He was eventually 
appointed second master at the School of Art, which 
position he filled until 1898, when he resigned, after an 
honourable and highly useful career as a teacher of design. 
He has published two books on decorative design for the 
use of students. 



I 



210. WILLIAM AITKEN. 

On cAnvas, oval, a ft, 3 in. hi|fh by 



loj in. wide. Painted in 1870. 

Bequeaihtd by Mrs* Aitken, 



For note on William Aitken, see page 1. 



KOERNER (Ernst). 

Ernst Carl Eugen Koerner, the well-known Germa^ 
landscape and marine painter, youngest son of the Lord ot 
the Manor of Stibbe, West Prussia, was born at that place 
on November 3rd, 1846. He was a pupil of Eschke, and 
later of Steffeck and Gottlieb Biermann. In 1867 he 
visited the coasts of the North and Baltic Seas, and the 
Hartz Mountains ; Northern France in 1868 ; and England 
and Scotland in 1872. He spent much time in Italy, in 
1869 and succeeding years, and has painted in many parts 
of Egypt, Palestine, and the far East, during 1873, 1878, 

90 



1887, and at other times. In 1882 he made a long sojourn 
in Spain, accompanied by his wife. He was chairman of 
the Societ)' of Berlin Artists from 1895 to 1899, and is a 
Knight of the Order of the Red Eagle and the Order of the 
Prussian Crown. He has received gold and other medals 
at various exhibitions, such as Vienna, 1873 ; Philadelphia, 
1876; Melbourne, 1st class, 1888, and Berlin, gold medal, 
1 89 1. Several of his most important works, such as 
•* Capri," '^The Isle of Wight," *»The Golden Horn," 
and others, are in the possession of the Empress Frederic. 
His "Crocodile Temple at Komombo " was purchased by 
the Emperor William L, and ** Gloaming, Philac," by 
William IL Many of his most important works are to be 
found in public galleries, such as those of Berlin, Stettin, 
Boston, Hamburg, Posen, Halle, and the Royal Poly- 
technicon at Charlottenburg, He has devoted particular 
attention to painting the architectural monuments and 
scenery of Egypt. 



211. THE TEMPLE OF EDFOU, UPPER EGYPT. 



Temp 



On canvas, 5 ft 2) in* high by 4 ft, 11 tfi. wide. Painted in t88S. 

Presmad fy Mr, Hkkard J^yUn. 



is picture represents the great Pylon or gateway, and a portion of the 
Temple of Edfou, on the Nile, in Upper Egypt* which is between Thebes 
and the First Cataract. It is probably the best preserved of the Epyptian 
Temples. It was one of the great edifices erected during the Roman period, 
and was founded by Ptolemy IV., 170 B.C., and succeeding princes continued 
the work of construction until the reign of Ptolemy XI IL, who erected and 
decorated the massive Pylon which occupies the centre of the picture. This 
great gateway is 250 feet across, the centre alone being over 50 feet. The 
Temple was dedicated to Horxjs and Hathor» the Egyptian Venus, and the 
great figures on the front and side of the Pylon are those of the goddess and 
Horus. The great court is about 140 feet by 150 feet, and is surrounded 00 
the three sides by thirty-two columns, each different in decoration. At the 
extreme end is the sanctuary in which was deposited the sacred hawk, the 
emblem of Horus. The Pylon rises in the centre of the picture, bathed In 
brilliant sunshine ; in the foreground are numerous Arabs encamped in the 
cool shade. Beyond the temple lie the fields through which the Nile winda 
its course, while in the extreme distance rise the hills on the east bank of 
the river At the side near the Pylon is an Arab village, with its moequei 
crowned with a lofty minaret, occupying the site of the ancient city of Apol* 
Unopolis Magna. 

9« 




LANGLEY (Walter), R.I. 

Walter Langley was born in Birmingham in 1852, and 
was educated at Hurst Street Day School, where he received 
his first lessons in drawing. At fifteen he w^as apprenticed 
to a lithographer, with whom he remained until he was 
twenty-one. During this time he was at work in the 
evening classes of the Birmingham School of Art, under 
Mr, D. W. Raimbach, the headmaster, where his principal 
study was designing, for w^hich he obtained numerous prizes. 
Immediately after he had completed his apprenticeship 
indentures, he was successful in obtaining a scholarship, 
tenable for two years, at South Kensington. After eighteen 
months spent there, he entered into partnership wdth his 
late master ; but he eventually gave up designing, and 
devoted himself to painting. In 1882, he took up his 
residence at Newlyn. He never had any teaching in 
painting. He was elected an Associate of the Royal Bir- 
mingham Society of Artists in 1881^ and a member in 1884* 
In 1883, he became a member of the Royal Institute of 
Painters in Water-colours. In 1886 he returned to Bir- 
mingham, where he remained for about two years. In the 
same year a small collection of his pictures was exhibited in 
this Gallery. In 1889 he w^as back again in Penzance and 
Newlyn. Together with Mr, W, J. Wainwright, he had a 
large share in establishing the Birmingham Art Circle, 
Among his best known pictures may be mentioned '* For 
Men must Work/* ** Among the Missing,'' for which he 
received a gold medal at Paris, ^' Departure of the Fleet for 
the North," for which he obtained a gold medal at Chicago, 
** Betrayed,'' **0 for the touch of a Vanished Hand,** 
** Disaster/' '* Memories,*' "Widowed,'' etc. In 1897 he 
was invited by the Italian Government to paint his own 
portrait for inclusion in the famous room in the Uffizi 
Gallery, in Florence, which is devoted to portraits of artists 
of all times, painted by themselves. 



212. MEMORIES. 

Water-colour drawing', i ft. 6 in. hig'h by 2 ft. 6| in. wide. 



Painted in 1885. 



Presented by Mr. M. Dams. 



92 



iiy - BUT O FOR A TOUCH OF A VANISHED HAND. X 

AND THE SOUND OF A VOICE TH.\T IS STILL r ^ 

Plumed in i8S& 



WAtcr-coloiir drmwiag, 2 ft H ^"^ ^gh I17 1 ft li to, wide. 



2 1 4. AFTER THE STORM. 
Walcr-««SlaDr dfrnwinf, 5 ft. 8} bi. 



X 



t»7 4 fl. 4f ici, wide, rainted in 1894. 



PrestfOid hy Mr. Ruk4rd PeyUm. 



P' 

■ 214. . 

^^^ LEADER (B. W,), R.A- 

^PP Benjamin Williams Leader, R. A.^ was born at Worcester, 
m 1831. He received his earliest instruction in art at the 
School of Design in his native city. In 1854 he was 
admitted a student in the Royal Academy Schools, and, in 
the same year, exhibited his first picture^ *' Cottage Children 
Blowing Bubbles.'* Two years later he visited Scotland. 
He became gradually one of the most popular dehneators of 
mountain scenery^ Wales and Switzerland being his favourite 
sketching-grounds. The scenery round Worcester furnished 
the subject of many of his finest pictures. He was elected 
an Associate of the Royal Academy, January l6th» 1883, 

I and has exhibited pictures there since 1856. In 1889 he 
received a Gold Medal at the Paris Exhibition, and was 
made a Chevalier of the Legion oi Honour. He was 
elected an R.A. in February, 1898. Among his best known 
pictures are : ** Mountain Solitude/' 1873 ; ** Wild Waters/* 
1875 ; *• An English Hayfield/* 1876 ; '* The Last Gleam," 
1879; **A Gleam in the Storm/' 1880; ^'February Fill 
Dyke/' 1881 ; *' In the Evening there shall be light/' 
1882 ; '* Parting Day/* and *' An Autumn Evening," 1883 ; 
*' With Verdure Clad," 1886, etc. Several of his pictures 
have been very successfully etched by Chauvel and Brunet- 
Debaines. 

215. TINTERN ABBEY, ON THE W^E.7^ 

On canvas, 2 ft. 11 in. high by 4 ^. 5 in, wide. Painted in 18744 

Prtsenitd by Mr, Alfred J, Elkington. 

93 




LEIGHTON (Lord), P.R A. 

Frederick Leighton was born at Scarborough, December 
3rd, 1830, and from childhood evinced a strong passion for 
painting, which his parents gave him every opportunity of 
gratifying. Owing to his mother *s health his family lived 
abroad, and his first systematic instructions in drawing were 
received in Rome, in the winter of 1842-43, from a painter 
named Flippo Meli ; but he is chiefly a pupil of Steinle, the 
Viennese artist, who was professor at the Stadel Institute, 
Frankfort. He next became a student of the Royal Academy 
of Berlin, and passed thence to Florence, Frankfort, and 
Brussels. In the latter place he painted his first picture— 
**Cimabue Finding Giotto Drawing in the Fields,'* 1848. 
He then went to Paris, and afterwards to Rome, where he 
spent part of three winter seasons in study and in painting 
his large picture, *'Cimabue*s Madonna Carried through 
Florence," which, when exhibited at the Royal Academy in 
1855, created a profound sensation in the art world of 
London, and was purchased by the Queen, For four years 
after this the artist resided in Paris, and then settled in 
London in i860; and, until his death, contributed a series 
of fine pictures to the Royal Academy Exhibitions. He 
was elected an A.R.A. in 1864, an R, A. in 1868, and on the 
death of Sir Francis Grant in 1879 he was elected President, 
and received the honour of Knighthood. He was made a 
Baronet in 1885, and was a member of the Institute of 
France. He was an honorary member of many Continental 
Academies, Knight and Commander of a number of Foreign 
Orders, and received honorary degrees from a number of 
Universities. On January ist, 1896, he was made a Baron, 
being the first painter elevated to the peerage. He died, 
after a long and painful illness, at his residence, in Holland 
Park Road, on Saturday, January 25th, 1896, and was buried 
in St, Paul's Cathedral. 



216. 



94 



A CONDOTTIERE. 

Oa canvas, 3 ft. 11 in. high by 2 ft 4I in. wide. Stg lUustraHon, 
FresenUd by thi Trustees of the Public Picture Gallery Fund 



1 



I 



I 



used to Im out to cairr on &c wai^ d t&e Italian Sutes. Tliey pU3'e<! « 
very impoctim put in Italian histtxry during the 14th and 15th cennines> 
as the repfoblks and kxd^ps ialo which the counuy was diridec! wiere 
incessantlj engaged in war. In many cities^ such as Milan, tyrants had 
b^;im to supersede the old republican goveniments. and they found it mudi 
safer to engage a merDenaij army to fight their battles for them than to 
arm their own sobjecta. Ilootreal d'Albamo, a gentleman of the Proriftce, 
was the fitst to give a definite form to these laidera binds. A seven doci|h 
line and an elalx>rate organization weie loHodtlced into tlie compaatf itself, 
whilst in their relations to the people the most baibahe licence was permitted 
The Grand Company, as it was called^ soon numbered 7,000, The\* were 
clad in armour from head to foot. One of the most famous of them was 
Sir John Hawkwood^ an Englishman, called by the Italians Acmta, 



217. "AND THE SEA GAVE UP THE DEAD WHICH ^^RE IN 
I rrr—Riv, lOL 15. 

^■^^ On panel, ctrcuUr, 1 ft 5} tn. wide 

^^m PratnUd hy Str John C HMer^ B^rL 

^PP Study in oil for the large picture exhibited in the Royal Academy, tS92, 
^n now in the National Gallery of Biidsh Art, The design was prepared some 
I years before, and was originally intended for the decoration, in moeaic, of 
I the dome of St, Paul's. Eight large circles were contemplated, the subjects 
m being chosen by the Dean and Chapter, The scheme fell thmugh at the 
time, and the design was put on one side. When Sir Henry Tate approached 

»Lord Leighton with the object of purchasing a picture to represent him in 
the " British Luxembourg," the artist at once thought of this design. He 
was already represented, in the Chantrey collection, by the graceful and 
classic '* Bath of Pysche/' and by his " Athlete " in bnnnre, and he therefore 
desired to paint a work of a different kind for Sir Henry. Lord Leighton 
regarded this picture as the best thing in its kind that he had ever done, 
and as that by which he wished to be judged by posterity. It is an attempt 
to realize upon canvas a portion of the tremendous picture of the Last Judg 
ment, drawn in The Revtlatitm, xx.^ 13. 

LEWIS (John Frederick), R.A. 

John Frederick Lewis, R.A., the son of F. C. Lewis, the 
engraver and landscape painter^ was born in London^ July 
14th, 1805, and received his first art instruction from his 
father. He devoted his attention to animal painting, and 
engraved some of his early subjects himself* He exhibited 
at the British Institution from 1820, and at the Royal 
Academy from 1821, At that time he painted chiefly in 

95 



,-> 



water-colours, and became an Associate of the Water-<:olour 
Society in 1827 and a full member in 1830. In 1832 he 
went to Spain for a couple of years, and in 1843 went to 
Egypt, remaining in the East until 185 1, His Oriental 
subjects include many of his finest works. He was elected 
president of the Water-colour Society in 1855. Devoting 
himself to oil painting, he retired from the Water-colour 
Society, and was elected an Associate of the Royal Academy 
in 1859, and R-A. in 1865, He died at Walton-on-Thames, 
August 5th, 1876, having been placed on the retired list of 
the Academy in the spring of that yean 

'218. THE DOUBTFUL COIN, 

On pand« 2 ft. 5! in. high bv 2 ft. 10 in. wide. Painted in 1869, and exhibited 
Royal Acadfemy in that year. See lUustraiitm, 

A scene in a Cairo bazaar. An old Seraff, or money-changer, is scrutinis- 
ing a large silver coin which a veiled lady has brought to him. ** Here are 
richness and brilliancy of colour that is disposed in broad masses, splendour 
and diversity of chiaroscuro, and such poweifui treatment of many textures — 
from cloth of silver to woollen fabrics — as Mn Lewis has never surpassed.' 

LINES (H. H.). 

Henry H. Lines, eldest son of Samuel Lines, a frequent 
contributor to London and provincial exhibitions, died at 
his house in Britannia Square, Worcester, on February 
20th, 1889, aged 88^ 

215, CROMLECH AT HENDREWAEBOD. 

Water-colour drawing, t ft. high by 1 ft. 6 in. wide* 

FresenUd hy Miss Lines. 

220. WESTERN SLOPE OF THE NORTH HILL, MALVERN. 
Water-colour drawing, 10 in. high b_v i ft. 2^ in wide. 

FresenUd by Miss Lines. 

22U MISTY MORNING IN THE HABBERLEY VALLEY, WORCES- 
TERSHIRE. 
Water-cotour drawing, io| in. high by 14J in. wide. Fainted September 27th, 1S52. 

Presented by Miss Lines. 

222. GRAVEL PIT, STORRIDGE COMMON, NEAR MALVERN. 
Water-cotour drawing, 10 in. high by 1 ft. 2| in. wude. 

Presented by Miss Tines. 

96 



LINES (Samuel). 

Samuel Lines, a landscape painter and designer^ was 
born at Allesley, near Coventry, on Februarys 7th, 1778, 
and was brought up on the farm of an uncle. When four- 
teen years of age he showed a taste for art, which led to 
his being placed, in 1794, with Mr. Keeling, a clock-dial 
enameller in Birmingham, and on the completion of his 
apprenticeship he found employment here as a designer for 
the manufacturers. In 1809 he established a Life Academy, 
in w^hich several young men, afterwards known in art, were 
students ; and during forty years he was always active in 
promoting the interests and advancement of art in Bir- 
mingham. In 1814 he joined Barber, Radclyffe, and 
others in the formation of the first Art Exhibition in Bir- 
mingham, and took an active part in all the later exhibitions 
until his eightieth year. For many years he was Treasurer 
to the Royal Society of Artists. In 1847 a testimonial was 
presented to him by many of his old pupils, in acknowledg- 
ment of the services he had rendered to art in Birmingham, 
In early life he was an etcher of figures and inscriptions on 
swords, a designer of war medals, and also for the papier- 
mache ware first made by Henry Clay. He died on 
November 22nd, 1863, and was buried in St. Philip's 
Churchyard, opposite the house in which he spent his long 
and useful life. His three sons— H. H, Lines, S, R, Lines, 
and F, T. Lines — were all well-known local artists. 



22' 



223. BIRMINGHAM FROM THE DOME OF ST PHILIP'S 
CHURCH, IN THE YEAR 1821, 

On canvas, i ft. 8 in. high by 4 fu wide. 

Presented by Mr. F* T. Lines. 



I 



The view includes Temple Row West, Ann Street (now Colmore Row), New 
Street, Temple Street, and the sites of Waterloo Street and Bennett's Hill, 

NOTE.— A collection of Forty-fmir Drawings, illustrating old Birtning- 
ham streets and houses, by Samuel Lines, and his sotis, 5. J^. Lines, H H, 
Lines, and F, T. Lines, hiis been presented to ttie Art Gallery by Mr. F. Jl 
Lines* (See special catalogue, with descriptive notes, price One Fenny,) 

97 




LINES (S. R.), Junr. 

Samuel Rostill Lines, third son of Samuel Lines, was 
born in Birmingham on January 15th, 1804, and was 
taught drawing and painting by his father. He showed 
skill in sketching architectural and landscape subjects, and 
was employed to make lithographed drawings for drawing 
books. He painted the interiors and exteriors of old houses 
at Coventry, Stratford-on-Avon, at Haddon Hall, and other 
archaeological and antiquarian relics in the Midland Counties 
with considerable power in water-colours. He was an 
occasional exhibitor at the Royal Academy. He died at 
his father's house, in Birmingham, on 26th November, 
1833, aged 29, 

224. INTERIOR OF TETTENHALL CHURCR 

Water-colour drafV^tng', 2 fL 2 in, hig^b by i ft. S in. wide. 

PresenUi hy Mr. F. T, Lines. 



LINNELL (John). 

John Linnell, son of a carver and gilder, was born in 
London, in 1792, and entered the schools of the Royal 
Academy in his fourteenth year. He also studied under 
John Varley, and made so much progress that in 1807 he 
was able to contribute two works to the Royal Academy 
Exhibition. In the same year he gained a medal for model- 
ling from the life at the Royal Academy, and in 1809 the 
British Institution awarded him a prize of fifty guineas for 
a landscape entitled ** Removing Timber/' While quite a 
young man he devoted himself to more than one branch of 
art, including engraving and portrait painting in miniature. 
He also gave lessons in drawing. In 1810 and iBu he 
exhibited at the Royal Academy, but for ten years after- 
wards no work of his appeared at Somerset House. In 1813 
he was introduced to William Blake, and remained to the 
end the chief friend and stay of Blake's declining years ; it 
was he who commissioned Blake to do both the Job and 
Dante series, and he did many other services to the artist 



98 



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1 B j!^3BF "^ ' 




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and his wife. He was also mdmate with Mulready, with 
whom he liv-ed for a long time, Linnell's name is now 
chiefly associated with landscape painting, but during his 
life his portraits were well-known. Some of them were 
engraved in mesotint by the artist and published, Linnell 
also published " Michael Angelo's Frescoes in the Sistine 
Chapel " (illustrated by drawings said to have been made by 
his daughter, Mrs. Samuel Palmer), and another work 
entitled **The Royal Galler)* of Pictures'* (a selection from 
the cabinet paintings in Buckingham Palace). Althoi^h a 
frequent exhibitor at the Royal Academy, he was never a 
member, and late in life is supposed to have declined the 
associateship. He died at Redhitl^ Januar}' 20th, 1882, in 
his ninetieth year. 

THE SHEEP DRTV^. 

* On canvas, 2 ft. 4 in. bigli by 3 ft* 5 in. wide. Painted tn iSby 
PrtseTtfid br tht TrusUts of thi FMic Picimre G^iiry Fumi. 




LOGSDAIL (William),^^/^ 



William Logsdail was bom in Lincoln, 1859, and studied 

in the local School of Art, under Mr. Edward R, Taylor, 

aften^ards headmaster of the Birmingham School of Art, 

where he took several national gold medals. From Lincoln 

he went to the Academy at Antwerp for a short time, and 

was first in the International Concours. His picture of the 

J** Antwerp Fish Market" was purchased from the Royal 

Academy by the Queen* From Antwerp he went to Venice^ 

and worked there until 1887, and during the five following 

/ears he was in Egypt and in the Riviera* He has also 

[painted a number of pictures of modern London, such as 

W The Lord Mayor's Show, '^ ** The Bank," '^St- Martin's 

an the Fields '* (purchased by the Chantrey Bequest), and 

p*Ludgate Hiir' (bought by the King of Italy). He re- 

[turned to Venice in 1892, and has resided there ever since. 

{He has exhibited at the Royal Academy uninterruptedly 

[since 1878. 

99 



226. THE PIAZZA OF ST, MARK'S, VENICE. 

On canvas, 4 ft hi^b by 7 ft. 2 in. wide. Stt /UusiroHmu 

Presented by Str John C. Holder, BarL 

The Piazs^ of St. Mark's is a square paved with blocks of maible, 
192 yards in length, and on the W, side 61 and on the E, 90 yards in breadth, 
On three sides it is enclosed by imposing structures, which appear to form one 
vast marble palace, blackened by age and exposure to the weather On the 
East, facing the spectator in the picture, it is bounded by the church of St 
Mark and the Piazzetta. These pjalaces were once the residence of the high- 
est officials of the Republic after the Doge. The ground floors of these 
structures consist of arcades, in which the best caf^ and shops are situated 
The Piazza b the grand focus of attraction in Venice, On summer evenings^ 
after sunset, all who desire to enjoy fresh air congregate there. The scene 
is most animated towards S p.m., especially on the evenings when the mili- 
tarj^ band plays, when it is sometimes thronged until after midnight. In 
the winter the band plays in the afternoon, and the Piazza is then a fashion- 
able promenade. Early in the morning a few visitors to the caf^s may be 
seen sipping their coffee, but these are rarely natives of Venice. The 
Venetians themselves are seldom visible at a very early hour, and the Piazza 
is comparatively deserted except at the hours just mentioned. The Piazza, 
with its adjuncts, presents a strikingly imposing appearance by moonlight 
The three lofty Flagstaffs in front of the Church, rising from pedestals 
resembling candelabra, executed by Leopardo, in 1505, once bore the banners 
of the kingdoms of Cyprus, Candia and the Morea, to commemorate their 
subjugation by the Republic, 



MACKENZIE (F.) 



A drawing by Frederick Mackenzie (1^88-18^4), forming part of theX 
** Graphic Illustratuyns of Warwickshire/* a permanent loan from thgl 
Midland Institute, is exhibited. (See special catalogue of " Old Wanmck*] 
shire Drawings/' price One Fenny,) 



MACWHIRTER (J.), R.A. 

John MacWhirter was born in 1839, at Slateford, near^ 
Edinburgh, and educated at Peebles. He studied in the 
Edinburgh Art Schools under Robert Scott Lauder, He J 
was elected an Associate of the Royal Scottish Academy in" 
1863. He first exhibited in London in 1859. In 1864 he 
came to London, and was elected an Associate of the Royal J 
Academy in 1879, while in 1882 he was made an honorary" 
member of the Royal Scottish Academy. He is also a 
member of the Royal Institute of Painters in Water-colours, 



100 




His landscapes of Scottish scenerj^ are weW knom^. Elected 
an R-A. in iSgj. His picture **June in the Austrian 
Tyrol ** is in the National Gallerj^ of British Art. 



227. AUTUMN IN THE ISLE OF ARRAN. 

On CMaetmSy 5 ft. 4 is. hig^ bf 2 ft* 6 in. wide. 

f> Mr, JfiUpk 



BHmitJ 



MARKS (H. Stacy), R.A. 



Henn^ Stac\' Marks was bom in London, September 
23rd, 1829- He became a student in the Royal Academy 
Schools in 1851, and studied under Picot in Paris, iSs^'t* 
He was elected an A. R.A. in 1871 and an R.A. in 1878, 
His forte was g-enre and quaint mediae v^al ism. He was a 
constant exhibitor at the Royal Academy from 1853* first 
making a distinct success in 1856 with ** Toothache in the 
Middle Ages/* He also produced a variety of works of 
great technical value for wall decoration, designs for stained 
glass and book illustrations. He died after a short illness, 
on January loth, 1898. 

22^. INTELXECT AND INSTINCT. 

Oq canvas, i fL 3I in. hig-h by 2 ft. j) in. wtd€. Painted in 1879^. 

PrtscnUd by Mr, Richard Ckam^lain. 

22g. DOMINICANS IN FE.\THER. v 

Oti canvas, ift. higrh by 6 fl. o\ in, wide, "^y' 

Presented by Sir Jolm C. Holder, Bart J ^ 

This picture represents, somewhat humorously, a growp of penguini— 
small sea-divers— whose black and white plumage has sugj^ested to the artist 
a resemblance to a party of Dominican Friars, or Black Friars as they were 
called in England. 

MILLAIS (Sir John Everett, Bart.), P.R.A. 

Sir John Everett Millais, Bart., R.A., was born at 
Southampton, June 8th, 1829, At the early age of nine 
he began his art education in Mr. Sass's Academy, and 
two years later became a student at the Royal Academy, 

101 



He gained his first medal at the Society of Arts when only 
nine ; at thirteen he won a medal for a drawing from the 
antique ; at Bfteen he began to paint. He exhibited at 
Westminster Hall, in 1844^ a life-size group illustrating 
the parable of **The Widow^s Mite/* During his career 
in the Academy Schools he carried off in turn every* honour 
they had to bestow, including the gold medal for painting ; 
and in 1846 he contributed his first picture to the Academy 
Exhibition, ** Pizarro Seizing the Inca of Peru/' when he 
was seventeen. In 1848 his whole method changed, w^hen 
the Pre-Raphaelite Brotherhood was formed, of which he, 
Rossetti, and Holman Hunt were the three founders and 
principal workers. His first Pre-Raphaelite picture was 
**^Lorenzo and Isabella," painted in 1849, now in the 
Walker Art Gallery at Liverpool. His other principal 
works of this period were ** Ferdinand Lured by Ariel" 
and '* Christ in the House of His Parents'^ (1850); 
"Mariana" and **The Woodman's Daughter*' (1851); 
** The Huguenot *' and '* Ophelia " (1852). These works, 
and those of his confreres, were roundly abused by the 
Press and the public, until Mr. Ruskin, in 1851, came to the 
support of the new school with enthusiastic approval. But 
the picture of ** The Huguenot" quickly became a public 
favourite, and from that day the artist went on from success 
to success. In 1853, when only twenty-four, he was elected 
an Associate of the Royal Academy, and ten years later — 
in 1863 — he became an R.A, In later years he painted 
several beautiful landscapes, notably '* Chill October,'* in 
1 87 1. He was a member of the Institute of France, and 
was decorated with the Legion of Honour in 1875 ; and in 
1885 was made a baronet on the recommendation of Mr. 
Gladstone. As a young man he employed his pencil with 
great success as a book illustrator, and such magazines as 
the Comkill^ Good Words ^ and Once a Week abound in 
woodcuts from his designs. About the year 1870 he first 
began to exhibit portraits, one of his most famous ones 
being that of the three Miss Armstrongs, called '* Hearts 
are Trumps *' ; and he painted many of the most famous 
people of his day. Upon the death of Lord Leighton, in 



102 




No 231 



THE BLIND GIRL. 

SJR i. K, MILLAIS, BART, P.R*X. 



>^ 



1896, he was elected President of the Royal Academy, but 

he was seriously ill at the time, and died on August 13th, 
in the same year, of epithelioma of the larynx. (See 
Memoir of RasseUL) Eight of his pictures are in the 
National Galler\- of British Art, including the *' Ophelia," 
** The Order of 'Release,'' and ** The Vale of Rest/' Ten 
of his pictures were exhibited in the Birmingham Art 
Galler\* in 1891, including *' Mariana/' ** The Proscribed 
Royalist," **John Ruskin/' *' Chelsea Pensioners/' and 
"The Vale of Rest/' 

230, THE WIDOWS MITE. 

On canvas, 3 ft. 1© in. \ii%h bv a ft 6^ in. wide. Painted in t86g, and eJtKibacd 
Royal Academy 1870. fetched by C. Wnllncr, 1S80- S^ /iJustmf^n, 

This picture was painted when Millais was living at Crorow«U PI? ^ 

nol far from the Hospital for Consumptjon, in honour of which r> 1, 

in io«ne degree, it was produced. The same model, Miss Silver, sat \n the 
previous year, 1868, fc«^ " The Gamblers Wife/' Lord Leighton said that 
this was the best female head Millais ever painted. 

*' It originated in this wise. After finishing ' The Gamblers Wife/ the 
model came one morning dressed in widow's weeds, and begged to see the 
artist. He was much touched at seeing her pale^ sad face, and on hearing 
her story, which was the usual tale of penury, he asked her to come agi^in 
next day, dressed as she was. as he could, perhaps, think of a good subject 
She came accordingly, and he at once commenced * The Widow's Mite/ 
Avith her as model/' — J. G, Millats. 

211. THE BUND GIRL. 

On canvas, 2 ft € in. hig^h by I It 9 in. wide. Painted and exhihited Royal 
Academy 185^ Formerly in the collections of Mr. T. Miller, Mr. W. Grrnhum, and 

Mr. Albert Wood. 

Presented by the Right Hon. William Kem^ick, P.C. 

This picture was painted in the same year as ** Autumn Leaves" and " Peace 
Concluded/' It was awarded the prize of the Liverpool Academy in 1858, and 
was sold in the same year at Christie and Manson's for ^^3 1 5. This picture h the 
most luminous with bright golden light of all Millais's works, and fur that 
reason the more deeply pathetic in relation to the subject* Madox Brown 
called it *' a religious picture and a glorious one/* for God's bow is in the 
sky, doubly, a sign of divine promise specially significant to the blmd. 
Rossetti called it '* one of the most touching and perfect things I know/' 
and the Liverpool Academy endorsed his opinion by awarding it their annual 
prize, although the public verdict generally favoured Abraiiam SolomonV 
** Waiting for the Verdict/" Millais has himself told the story of how, not 
knowing that the second rainbow is not really a '* double " one, but only ft 
reflection of the first, he did not reverse the order of its colours as he should 
hav© done, and how, when it was pointed out to him, he put the matter 
right, and duly received a fee for so doing. The error is a common one. 

103 



> 



It is to be seen in pictures by Troyon and others, students of nature all 
their lives, who yet never bad accurately obsen^ed it. 

" The background is an open English common, skirted by the tidy houses 
of a well-tchdo-village in the cockney rural districts. I have no doubt the 
5cene is a real one within some twenty miles from London, and painted 
mostly on the spoL A pretty little church has its window traceries freshly 
whitewashed by order of the careful warden. The common is a fairly 
spacious bit of ragged pasture, and at the side of the public road passing over 
it, the blind girl has sat down to rest awhile. She is a simple b^gar, not 
a poetical or vicious one ; a girl of eighteen or twenty, extremely plain- 
featured, but healthy, and just now resting, not because she is much tired, 
but because the sun has but this moment come out after a shower, and the 
smell of the grass is pleasant. The shower has been heav)% and is so still 
in the distance, where an intensely bright double rainbow is relieved against 
the departing thunder cloud. The freshly wet grass is all radiant tburough 
and through with the new sunshine ; the weeds at the girFs side as bright 
as a Byzantine enamel and inlaid with blue veronica ; her upturned face all 
aglow with the light that seeks its way through her wet eyelashes- Very 
quiet she is— so quiet that a radiant butterfly has settled on her shoulder, 
and basks there in the warm sun. Against her knee, on which her poor 
instrument of beggary rests, leans another child, half her age — her guide; 
indifferent this one to sun or rain, only a little tired of waiting/'^ — Ruskin. 

In 1854 Millais was planning this picture and ** The Random Shot," and 
he finally selected the old priorj- church of Icklesham, near Winchelsea, for 
the scene of the latter. The artists son, in his *' Life of Millais," says: — 
" Neither the background nor the figures in * The Blind Girl ^ were finished at 
Icklesham, the middle distance* being, I think, painted in a hayfield near 
the railway bridge at Bamhill, just outside of Perth. Perth* too, supplied 
the models from which the figures were finished. The rooks and domestic 
animals were all painted from nature, as was also the tortoise-shell butterfly, 
which was captured for the purpose. Both here and in * The Random Shot * 
the backgrounds were painted with extraordinary energy and rapidity." Mr 
S. Cockerell, however, sajrs that this is incorrect* and that the scene selected 
is not Icklesham, He writes : — " The background consists of a \aew of 
Winchelsea as seen from the flat marshland to the east, and is so accurate 
that every building and nearly every tree can still be recognized," 



232. CARTOON : THE RESCUE. 

Drawing in black and red chalk, 3 ft. 2 in. high by 2 ft. 4 \n. wt4e. 

Presented ^y Mr, Edward NettUfold. 

This is the preliminary study in monochrome for the dramatic picture 
" The Rescue," painted in 1855, and now in the possession of Mr. Holbrook 
GaskelL Ruskin, in his review of the Royal Academy, declared it to be 
" the only great picture exhibited this year," and defended the appearance of 
haste in the execution, which he contended was well suited to the excitement 
and action of the subject, which represents a fireman rescuing three young 
children from a burning house, on the staircase of which their mother kneels^ 
wiuting to take them from his arms. 

104 



1 
I 



MOORE (Albert). 

Albert Moore was bom in York, in 1841, and gave indi- 
cations of great artistic capacit)^ at a ver)' early age. His 
fother, William Moore, was a portrait painter and teacher 
of considerable North Countr)^ repute, and two of his 
painter brothers were Henry Moore, R.A,, the celebrated 
painter of the sea, and John Collingham Moore, an excel- 
knt landscape and portrait painter, who spent much time 
in Italy. Two elder brothers, Edward and William, were 
also painters, and all fi\e on more than one occasion exhi- 
bited in the same Royal Academy Exhibition. He studied 
under his father, and for a few months only in the York 
School of Design. He came up to London at the age of 
fourteen, and studied at the Kensington Grammar School 
for two years, and first exhibited in the Royal Academy in 
1857. He was a pupil at the Royal Academy Schools for 
a short time in 1858. Of actual tutelage he had little from 
that or any other source* With the exception o( several 
sketching tours in the English Lake District and elsewhere 
in his younger days, and a visit of some months to Italy, 
his time was spent almost wholly in London, where he died, 
unmarried, on September 25th, 1893. A special exhibition 
of works by members of the Moore family was held at York 
in 1895. 



■i 



233. THE DREAMERS. 

Do caDvas, 2 ft* 3 in, high by 3 ft ct in* wide. Painted &nd exhibited Royi 
Academy, 1882. Set lUustraiion, 

Presented by Sir Richard and Mr. Giorgi Tangye. 

Although " The Dreamers " was painted In 1882, the artist had, in a way* 
been at work upon it for some years, finished studies and smaller pictures 
of the separate figures having been completed between 1879 and the latter 
date, such as *' A Work Basket/' " Jasmine/' " Rose Leaves/' " Acaciaji," 
« Siesta," and " Musk." 

234. CARTOON: FIGURE OF CHRIST. 

Drawingr in sepia, with hair and beard slightly coloured, 3 ft. n 15* high, 
by 1 ft. t^ iQ. wide. 

Presented by Mr, C* Foirjax Murray, 
A design for stained glass. 



MOORE (Henry), R.A. 

Henry Moore was born in the city of York, in the year 
1831, one of the sons of William Moore and o( Sarah Colling*! 
ham, his wife, who was related to William Hilton, R.A»[ 
His first art training was in his father's house, and therel 
he remained and worked for some years, with his eld€ 
brother, John Collingham Moore (a good painter of Romae^ 
landscape and of charming portraits o{ children), a sister," 
and Albert Moore, his younger brother, (See note to 
No. 233,) He also studied at the York Art Schools. 
Henry Moore came to London with his elder brother, and 
was admitted to the Royal Academy schools in the year 1853, 
and that same year, sufficiently advanced by the teaching of 
his father, he exhibited at the Royal Academy **Glen 
Clunie," and ** Castle Town of Braemar/' He continued 
to paint landscapes until 1858, and made several tours both 
at home and in France and Switzerland. His *' Swiss 
Meadow in June," one of his chief pastoral successes, exhib- 
ited in the Academy of 1857, was highly praised by Mr, 
Ruskin. In 1858, he first turned his attention towards the 
sea. His mastery of the sea was obtained by many years' 
cruising. Every aspect of water, every sort of weather, every 
condition of atmosphere, was to him a thing separately 
known, and clearly set down. His industry was very great, 
and during forty years he exhibited nearly 600 pictures. 
Among his best-known works may be mentioned ** Clearness 
after Rain/' *^ Breezy Day in the Channel/' '*Calm before a 
Storm," "Off the Lizard,'* **The Newhaven Packet,'* etc. 
He was elected an Associate of the Royal Academy in 1885, 
and a full Academician in 1893. He also exhibited regularly 
at the Portland Gallery until it closed in 1861, the Royal 
Society of British Artists, of which he was some time a mem- 
ber, the British Institution, the Dudley Gallery exhibitions, 
and the Royal Society of Painters in Water Colours, of 
which he became an Associate exhibitor in 1876, and a full 
member in 1880. ** Clearing After Rain " obtained at the 
Exposition Universelle, held at Paris, in 1886, the Grand 
Prix and the '* Legion of Honour.'' Towards the end of his 

106 



ac±ive life his robust health was much weakened by five 
attacks of influenza, and the result of an accident which 
broke both his wrists. In the spring of 1895 he with diflfi^ 
culty finished his work for the exhibitions ; after which he 
retired to Margate to recruit, but within a fortnig"ht he died 
of paralysis, on June 24th. 

235. THE NEWHAVEN PACKET. /^ 

On canvms, 3 ft» t| in. high bv 6 f L 1 1^ in. wide. Painted and exhibited Royal 
Academy, 1885, Set lUustraHon., 



136. 



257- 



--38. 



SUMMER TIME OFF CORNWALX, K 

On canvas, 3 fu hig^b by 5 fL o^ in. wide. Painted in 1883. 
PrescnUd h the Trustees ef ike PuMu Future Gallery Fund. 



m THE MORAY FIRTH. 

On canvas^ 1 ft* higb by 2 ft. 8 in. wide. Pninted in 1876. 

PresenUd h Mr, Rkkard Ck&mbirUrm, 






BY STRESS OF WEATHER DRIVEN. 

On canvas, 2 fL 1 1 in< bt^h by 5 It, wide. 

Presented by Mr. James R. BoUidsy, 



MORLAND (George). 

George Morland, the son of Henry R. Morland, the 
painter, was bom in the Haymarket, 26th June, 1763. He 
was a student of the Royal Academy, and first exhibited 
therein 1779. He first produced landscapes, but afterwards^ 
for the most part, subjects with domestic animals ; but he 
rebelled against the restraints of regular study, and gave 
himself up to a life of folly and extravagance, finally falling 
into the hands of a picture dealer, in whose house he boarded. 
In 1786 he married the sister of William Ward, a mezzotint 
engraver, and then, living for some time quietly, and work- 
ing hard, his work improved rapidly. His first child dying, 
and his wife being for a long time a suflFerer from a danger- 
ous illness, he once more gave way to dissipation, gradually 
so confirming his habits of intemperance, that he was never 
able to disentangle himself from them* Finally he was 
arrested for large sums owing to publicans, was carried to 

107 



a def»tor*s prison in Coldbath Fields, and died there of utter 
mental and bodily debility, on the 22nd October, 1804- Hisj 
neglected and unhappy wife only sur\ived him three days,! 
and they were buried together. Amidst all his faults and] 
all his excesses^ Morland was a close observer and true lovef 
of nature in its peculiarly rustic aspects. His rendering 
rural scenes was wonderfully truthful, and no artist ha 
painted animals with greater fidelity, 

239. PIGS. 

On cmmrms, 2 ft. 4 in. hi^ by 3 ft. 1} ki. widei Exhibited in the Royal Academy 
in 1 797, S*r l/Jufiraii&n. 

Presented by Mrs, Limcodk^ 



MORRIS (William). 

Willlain Morris, poet and art-worker, was bom at Watj 
thamstow, being the eldest son of a merchant of means, wh^ 
died in 1844. He was educated at Marlborough, and Exeter" 
College, Oxford, where he became the life-long friend of 
Edward Burne-Jones. He first studied painting, and also 
gave much time to architecture. In 1858 he published his 
first volume of verse, The Defence of Guenevere. In the 
early sixties he started, with the assistance of Rossetti, Ford 
Madox Brown, Burne-Jones, and others, the now famous 
London firm of Morris, Faulkner, and Co., for the artistic 
designing and manufacture of wall-papers, stained glass, 
woven goods, carpets, furniture, and household goods. The 
manufacturing part of the business was afterwards moved 
to Merton Abbey, Surrey, To this business he devoted the 
whole of his life, making countless beautiful designs for the 
use of the firm, and devoting his leisure to poetry. He 
published many volumes in both verse and prose, such as 
The Earthly Paradise^ 1868-70, and some translations from 
the Icelandic with Mr, Eirikr Magnusson, He also pub- 
lished translations of the ^^neid and Odyssey. He was 
fervid in his sympathy for the working classes, and during 
the latter years of his life wrote and spoke much in support 
of socialistic doctrines, and contributed largely to The Com- 
monweaL He also delivered many lectures on art. Among 

108 



later pubBcatioiis 
and pf^osCy 



7&f UmiM^ik^ 



m 



H0MS€ mf du W^^b^Sj and 7%r W^^d k^^§md Mr Wrnii. 

His latest artistic und^taking was the loundatioci of the 
Kelmsoott Press^ findm which were issued^ from iSqi ic 
fifty-two works in stJttjMbur volumes, a series of lx% 
and sumptuous reprintSp as wdl as some original compos* 
I tions of his own^ printed in special t\*pes made by hlm^f^ 
^ and embellished %- his own deigns, and those of Rurne* 
Jones, Walter Crane, and others. Among these books ia*ere 
: included the magnificent edition of Chaucer s Poems, Morris's 
' own Bwmmij\ Shelley, Keats, Rossetti, translations ot Med- 
iaeval French romances, and parts of Shakespeare* Coleridge^ 
and Swinburne, etc He died on October 3rd* 1896, and ^^-as 
buried at Kelmscotu near Lechlade* During his career he 
ver\' greatly contributed to the formation and reformation 
of English artistic taste in colour and design. 

240. CARTOON: ADORING .\NGELa 

Orawii^ hi scfna, on p&per, the patterns od tbe robes ia ttA* j iU 6| in* higll 
^ bj 4 ff. 6 in. wide. 

I Frtumtd ky Mr. C. Fmrf^ Mnrm^ 

^ A desgn for tapestiy. Three angels are advancing to the light, m fmnl of 

a row of apple trees, two praying, and one swinging a cenaer. 

241. CARTOON: ADORING ANGELS. 

I Drawing in sepia, on paper, the patterns on the rol>es in red, j i\ c>| in, liij^ 

I by 4 f\« 6 in. wide. 

I FnsenUd by Mr, C. Fairfax Mmrmp 

C A companion design to the above, with the angels advancing to the left. 

■ MULLER (W. J.), 

William John Miiller was born at Bristol, in t8j2 ; his 
father^ a German, being curator of the Bristol Museum. 
At the age of fifteen Miiller became the pupil of his towns- 
man, ]• B- Pyne, the landscape painter, and displayed his 
own ability for that department of the art at an early age ; 
he found a generous patron in Mr. Acraman, o( Bristol. 
He first exhibited at the Royal Academy in 1833. In 
1834 and 1835 he made a first tour upon the Continent of 

109 



Europe, and in 1838 started upon a long and arduoi 
journey throug-h Greece and Egypt, ascending the Nile 
beyond the Cataracts ; he settled in London after his return 
in 184a. In 1843 he accompanied Sir Charles Fellows on 
his expedition to Lycia, undertaken for the Dilettanti 
Society, returning to London in the following year. Many 
sketches and pictures of Oriental manners and scenery were 
the result of these journeys ; five were exhibited at the 
Royal Academy, and two at the British Institution, in 
1845 ; but Mil Her did not long survive to enjoy his grow- 
ing reputation. He died at Bristol, of disease of the heart, 
on the 8th of September, 1845, at the early age of thirty- 
three, M tiller's position as an excellent colourist, an 
accomplished draughtsman, and a sketcher gifted with 
quite exceptional vigour and rapidity of handling, is 
undoubted. There can be little doubt that his feeling 
for colour increased after he visited the East, and all his 
works after his travels in Egypt and Lycia are rich with 
the colours of the Orient. After his first visit abroad he 
adopted a more pearly tone, and his work is full of sun- 
shine and brilliance. Later, after his visit to Egypt, his 
works showed great mastery of light and shade. A large 
and important exhibition of his paintings, water-colour 
sketches, and pencil drawings was held in the Birming- 
ham Art Gallery in 1896. 



241. PRAYER IN THE DESERT. 
i On canvas, 3 fu j| in. hig-h by 5 f%. lof in. wide. Painted in 1643. Se€ lUustration. 
Fnsenied by the Right Hon. Joseph Chamberlain^ M,P. 

This jwcture was exhibited in the Royal Academy Exhibition. 1843, It 
is one of M tiller's best-known worlcs» and has been engraved in the Art 
Union. It was originally in the collection cA Mr WOHam Sharp, of Hands- 
worth. One or two smaller copies of it exist; the original sket<A for the 
subject, which is especially fine in colour, was, in 1875, in the possession of 
Mr. J, Henderson* and now belongs to Mr. J. F. Schwann. ** Nothing can be 
more impressive than the way in which Miiller has told the story of the 
Mussulman's devotion to his faith^ bowed in prayer towards Mecca — some 
standing, some kneeling, and some almost prostrate on the mat, and sur- 
rounded by the desert; great character and expression is given to each of 
the figures. The colour is rich and varied^ the general tone being rather 
dark ; night still lingen in the west — for the time chosen is early morning, 

no 



\ 



"The figures for tius picture were painted from life-models m London — ft 
voy imwnal proceeding with Miilier. He had some diffirtilt} in finding the 
rig}]! men wi^ sufficient of tht Eftstem character, and he dressed ^em up 
in the coctames he had homielf brought hotne from Cairo/' — ^A^ Neal S^lly 



^ 




THE ARAB SHEPHE1U>S. 

, 3 ft. Sf in. high % 5 ft. 4| in. wide. Painted In tS^i- Sf^t iUusimHoh. 
Frtsnmi ky tin Trmtees of iht Pmhlu PiOmrf Gull^ry Fmtd. 

This pictme wms sent to tfie Ro^al Academy Exhibition, 1S41, and was 
lejccted It was purchased by Mr, William Shaip. Of this Muller says in s 
letter to Mr, J. Satterfield, May irth, 1842: — " I have this year oiiy two 
jRCtures (cmc small) in the Academy. Tbey refused another large 1«i»dbo&pe 
(* Anb Shepherds') ; this I do not gnimble at, as 1 am aware of the immense 
n iw ltitade <rf rejected pictures, and I would mfinitely sooner have any one 
picture placed in a good position than three bad, T am happy to say the 
fonner is the case, attendant wi^ immediate sale/' 

A STREET SCENE IN CAIRO. 

On canvas, 4 ft., i^ in. hig:ti by 3 It 3I in. wide, Pamted in t8^^ 

Pres€mud by tki Right Ham. Jtis§^ Cfumherlmn, MP. 

** Another important jwcture, painted at this time, and dated Jui^, t Sj^. 
is that of a ' Street Scene in Cairo V; it is an uprights 3 ft, by 4 ft 6 in, and 
is now in the collection of Mr. Joseph Chamberlain. Edgbaston (1S75). On 
the left-hand an old Turk is seated, and is evidently ftilly engaged gazing 
at a fair giri (probably a Circassian slave) whom a villanotts-lookmg Arab, 
wrapped in a large native cloak, is presenting for his approval. Next to 
this group is a swarthy man in rich dark blue robe, with another upright 
figure just behind, czrrymg on his shoulder a little child who is waving a 
paJm-branch in its hand. On the right are some grimlooking natures, their 
faces ftill of the half-savage, half fanatical expression of the children of the 
desert ; and close by is a mule, partly laden. In the distance a Moorish arch 
and a minaret rise against the sky» and picturesque Eg^^ptian buildings on 
either side complete this fine picture : the whole is full of character, and the 
colouring is rich and mellow, but smoother and less powerful than those of 
M tiller's works which were painted two or three years later. This subject 
was often repeated, but always* I believe, for a small si^e." — iV. Ne^l SMy. 

The following twelve pencil drawings, made b)f MuUer during his painting 
tours in Switserland, Germany, and Italy, in iSj^-jj, and iSjg, wert p§^ 
sented by Mr, Robert H. Edmondson. 

245. VIEW NEAR TIVOU. 

Pencil drawinir, on buff paper, 9 in. high by t ft. 5 in* wide. Inscribed 

*• Nr. Tivoli, 1834." 

Prisentid by Mr. Robirt H, Edm&nitm, 

t II 



146. CA D'ORO PALACE, VENICE. 

Pencil drawin^r loj m. high by i fi. si in. wide. Inscribed '♦ A* Venice, 
W.M,, 1834." See lUustratwn, 

PresenUd by Mr. Robert H, Edmondsm. 

247. ARICCIA, NEAR ROME. 

Pencil drawing^, i]| in. hif h by t ft. 5I in. wide. Inscribed ** Aricia, 
Italy, 1839, W,M." 

Presented by Mr, Rabert H. Ednkfndsim^] 

248. ROME, FROM CASTLE ST. ANGELO. 

Pencil drawing, to rn. high by i ft, 4I in. wide. Inscribed " Castle St. Angelo, St,* 
Peter's^ Bridge of St. Angelo, Vatican, and the Tibefi W.M." See Iliustrafion, 

Presented by Mr. Robert H. Edmondsm^ 

249. VENICE. 

Pencil drawing, i ft. li in. high by lo} in. wide. Inscribed '* Venexia, 1834, W»M." 

Presented by Mr. Robert H* Edmondson. 

250. ANDERNACH, ON THE RHINE. 

Pencil drawing, on grey paper, to^ in. high bv i ft. 4) in. wide. Inscribed 
•* Andemach Chateau, i8i4, W.M,'* 

Presented, by Mr, Robert H. Edmondson, 



^5*- 



Pencil drawing* loi in. high by 1 ft. 4^ in. wide. 

W.M., 1834." 



I 



HEIDELBERG CASTLE. 

Inscribed " Heidelberg, 

Presented by Mr. Robert H. Edmondson. 

252. STUDY OF OXEN. 

Pencil drawing, 8 in. high by i ft. 2^ in. wide. Inscribed ** At Rome, 1835, W.M." 

Presented by Mr. Robert H. Ednwndsan, 

253. THE LAKE OF WALLENSTADT. 

Pencil drawing* sl in. high by i ft. 5^ In. wide. Inscribed •* Wailenstat, Switierland^ 
1834. \V«M./'and a number of notes added as to colour, etc. 

Presented by Mr. Robert H. Edmondson. 

254. VENETIAN FISHING BOATS. 

Pencil drawing, 9 in. high by i ft 4I in. wide. Inscribed ** Near Venice, with 
the Isle of St. George, 1834, W.M.*' 

Presented by Mr, Robert H, Edmondson. 

255. A DISTANT VIEW OF TIVOLI. 

Pencil drawing, on buff paper, la^ in. high by lof in. wide. Inscribed "Tivoli, 1834.'' 

Presented by Mr, Robert H- Edmondson, 
ltd 



256. CASTELAMARE. 



Pencil drawing, 11 in, hig"b bv i ft. si in. wide. 
March 2nd, W.M," 



Inscribed ** Casitemare, 



FrisenUd by Mr, RobtrZ H, Edmondson. 



I 257. ST. GEORGE AND THE DRAGON. 

H Water-colour drawing, i ft, high by 2 ft. 7 in* wide. Painted in 1885* 

B PresmUd by the TntsUes of the Public Picture Gallery Fund. 

This IS a reduced water-colour copy, made by Mr Murray, in 1885, of 
the large picture by Vittore Carpaccio in the Church of San Giorgio de' 
Schiavcmi, in Venice, painted in 1502. 

In 145 1 the sailors of Illyria, having compassion on the miserable lot of a 
great number of their compatriots, who died in Venice without means of 
burial, decided to establish a charitable association under the patronage of 
St. George and St. Triphon. By decree of May 19, 1451, the Council of 
Ten approved of this foundation, and a little while after, Lorenzo Mar- 
cello, prior of the Monastery of St John of Jerusalem » granted them, within 
■ the convent buildings, several rooms in which to meet for purposes of worship* 
In 1 501, the convent ha\nng fallen into ruins, the Illyrians built a chapel 
consecrated to St. George, which Jacopo Sansovino finished in 155 1. The 
interior of this oratory was decorated with nine paintings by Carpaccio, in 
three of which he represented scenes from the legend of St. George, which 
are considered to be among his finest works. 



For memoir of Carpaccio, see page 5* 



H, Roderick Newman is an American artist, who has 
worked chiefly in Florence and its neighbourhood, and 
also in Cairo. He was employed regularly by Mr. Ruskin 
to make architectural records for the Museum at Sheffield. 
Among his drawings in the Ruskin Museum are repre- 
sentations of the Baptistry, Giotto's Tower, and Duomo, 
Florence, and a number of small Italian landscapes. 

■ Ruskin regarded these Florentine drawings as '* quite 
the most valuable records yet existing of the old city 
and her Duomo.*' 

ti3 




A 



258. ST. MARTINO, LUCCA. ^^^^^ 

Waler-colouf drawto^, 2IL 2 in. high by t fi. 4I in. wide. Pd^intdd tti 1^77. 
PresmUd by the Rtghi Hon, IVtIltam KenruL P,C 

The Cathedral of Lucca, S. Martino, was erected in 1060-70 in the Roman- 
esque style by Bishop Anselmo Badagio (afterwards Pope Aleirander IlJ. 
but afterwards frequently restored, with a sumptuous facade. The vestibule 
was added in 1233 and the choir was begun in 1308. The vestibule contains 
cuJptures of the beginning of the 13th century, representing the histon d 
St Martin. Over the smaJi door is St. Regulus on the right, and a "Descent 
from the Cross *' on the left, by Niccolo Pisano ; below, the " Adoration <rf 
the Magi," of Pisano's school- The church is entered by three doon of 
carved wood, that in the centre being the finest. 

NOBLE (John S.). 

259. READY FOR WORK. 

On canvas, 5 ft. high by 3 ft. 9^ in. wide* 

PresenUd by Mr. G, H, Johnsiom 

NORTH (J. W.), A.R.A. 

John William North was born near London, in 1842. 
He studied for a time at the Marlborougfh House School 
of Art, and afterwards at South Kensing-ton, Later on he 
worked with Frederick Walker^ G. J. Pi Ji well, and Charles 
Green, under Mr* J. W. Whymper, at Lambeth. Mr. 
North and Walker worked together for a number of years, 
and the latter's work was in consequence much influenced, 
the cold colouring of his earlier changing to the warmth of 
his later manner. Mr. North was elected an Associate, 
and ultimately a Member, of the Royal Society of Painters 
in Water-colours ; and in 1893 was made an Associate of 
the Royal Academy. He is chairman of a limited company 
which was formed in 1895, in conjunction with the R.W.S., 
%o supply artists with a guaranteed pure and rehable paper. 
According to Mr. Herkomer, the special characteristic of 
his art lies in its singular charm of sensitive beauty. He is 
a slow worker, and produces comparatively little. His 
home is in Somersetshire. 

260. SWEET WATER MEADOW^S OF THE WEST. 

On canvas, 4 ft. 3 in, high by 6 ft. 1 in. wide. 

Presented by the Right Hon. William Kenrick, P£, 
114 




OLSSON (Julius). 

Julius Olsson was born in London, in 1864, and, after 
finishing his education, entered a merchant's office in the 
City, where he remained for four years. He then aban- 
doned business for art, in which, however, he received no 
instruction, being entirely self-taught. For some years he 
travelled, spending much time afloat, and it was on board 
ship that his studies of the sea were made. He spent a 
■ couple of winters in Sark, in the Channel Islands ; and in 
i8go settled down in St, Ives, His first success was made 
when one of his pictures was purchased for the Carnegie 
Gallery, in Pittsburg, U.S.A, He has been a member of 

»the Royal Society of British Artists and the New English 
Art Club, and is now a member of the Society of Oil 
Painters. He received honourable mention at the Paris 
Salon in 1900, and a gold medal in 1903. He has exhi- 
bited regularly at the Royal Academy since 1892. Among 
his more recent pictures may be mentioned ^' The Coasts 
of the Sirens" (R,A., 1899); *' Frosty Evening" (New 
Gallery, 1899); *^The Derelict" (R.A., 1900); ** Winter 
Evening*' (New Gallery, 1901) ; *' Storm '* (R,A., 1902); 
^'The White Squall" (R,A., 1903); and *^ The Tempest '' 
(R.A., 1904), 

261, THE WHITE SQUALL. 

Co canvas, 3 ft» iih in* high by 4 ft. iij in. wide. Painted and exhibited Royal 

• Academy, 1903. See Illustration. 

Presented by Mr, William A. Cadhury, 

This picture was painted at the Land's End, a district in which the artist 
has done much of his best work, and represents a ground sea tumbling in over 
a sunken reef. 



O'NIEL (Henry N.), A.R.A. 

Henry Nelson O^Niel was born at St. Petersburg in 1817, 

but was brought to England at the age of five. In 1833 he 

became a student at the Royal Academy Schools Some 

J years afterwards he went to Italy with his fellow-student 

Elmore, On his return he rapidly rose to fame as a contri- 

115 



buior lo the Royal Academy ExhibitionSt and was elected 
an Associate of that body in 1 860. * * The Death of Raphael'' 
is considered his best picture. He also executed a number 
of landscapes and portraits, and was the author of ^-arious 
treatises on art. He died March 13th, i88o- 

162. THE TRIAL OF QUEEN CATHERINE. 

Oa c&niraSp i ft 4I to* hig-b \>y 2 ft, i\ m, wide. 

Prtsented ty Colomd RaUlif, 

Caiherine of Anigon^ daughter of Ferdinand and Isabella of Spain, wis 
the fixst wife of Heni}' VIIL He had no male heirs, and all her children 
died young except Maiy. Thi« uncertainty about the succession to the throne 
would be likely to again plunge England into conflict. The queen, too, was 
old and sickJ}, and the king had become enanaotired of Ann Boleyn, a lady 
of the court. Cardinal Wolsey was in favour of the divorce, which the Pope 
was asked to grant on the ground that the marriage was irregular, Catherine 
being the widow of Henry's eldest brother, Arthur, Prince of Wales. The 
Pope Appointed a court to try the validity of the marriage in i529^bui their 
deci&ion^ given against Catherine, was revoked by him. But the kings 
patience became exhausted. Wolsey was disgraced, Henry privately manied 
Attn Bole)n, an act was passed forbidding appeals to Rome, and in 1533 
Archbishop Cranmer granted the divorce. The picture represents the latter 
trial, the «cene being taken from Shakespeare's Henry VIII., when Cath- 
erine flings herself at the king*s feet, saying : — 

•* Sir, 1 do desire you* do me right and justice ; 
And to bestow your pity on roe : for 
1 Afii a most poor woman, and a stranger, 
60m out of your dominions." 

/leftty y/JI, Act ii.. Scene 1 v. 



< 



I 



1 



OPIE (John), R.A. 

John Opie was born near Truro, in May, 1761 ; his father 
was a carpenter. He early gave indications of unusual 
ability, and having attracted the notice of Dr. Wolcot, was 
taken by htm to London, and introduced to Sir Joshua 
Reynolds. Opie was an exhibitor at the Royal Academy in 
1782, and for some time he created a considerable sensation 
in London as the •*Cornish Genius/* He painted in a broad 
manner, and was successful both as a historical and a portrait M 
painter. He was made a member of the Academy in 1787. ^ 
In 1805 he obtained the professorship of painting at the 
Royal Academy, but delivered one course of lectures only, 



J 16 



A 



» 



in 1807, and in an incomplete state^ — on design, on inven- 
tion, on chiaroscuro, and on colouring. He did not live to 
write the two intended on composition and expression. He 
died in the prime of life, April the 9th, 1807, and was buried 
by the side of Sir Joshua Reynolds, in St. Paul's Cathedral. 

265. DETECTED CORRESPONDENCE. 

On canvas, 7 ft. 9 in. hig-h by 5 (i. 5^ in. wide. 

PresmUd by the Society of Arts. 

OULESS (Walter William), R.A. 

Walter William Ouless was born at St. Heliers, Jersey, 
on September 21st, 1848. He was educated at Victoria 
College, Jersey, and went to London in 1864, being admitted 
a student of the Royal Academy in the following year. 
While there he took a silver medal in the Antique School. 
He has been a constant exhibitor at Burlington House since 
1869, his first works being subject pictures ; but in 1872, 
acting on the advice of Millais, he took to portrait painting, 
and has since devoted himself almost entirely to that branch 
of art. He was elected an Associate of the Royal Academy 
in i877> and an R.A. in 1881. He has painted portraits of 
many of the leading members of the learned professions, and 
of the army, nav)^, and church, and has received a number 
of medals and honours at various Continental Exhibitions. 

264. ALDERMAN CHARLES G.\BRIEL BEALE, 
I Three times Lord Mayor of Birmingham, 1897-98, 1898-99, 1899- 1900. 
^^^K On canvas, 3 ft. high by 2 ft. 34 ^^' wide. Painted in 1901* 

^^^^^^ Presented by ike Subscribers. 

^^^ PATTEN (G.), A.R.A. 

■ George Patten, A.R.A., the son of a miniature painter^ 
was born in 1801. He entered as a student of the Royal 
Academy in 1816^ and followed the profession of a 

\ miniature painter until 1830, but afterwards practised 
oil-painting. In 1837 he went to Italy for the purpose 
of study, and in the same year was elected an Associate 

■ 117 




of the Royal Academy. In 1840 he went to Germany, and 
painted a portrait of Prince Albert, who subsequently 
appointed him Painter-in-Ordinary. After this he obtained 
a large practice in presentation portraits. He painted 
subjects similar to those of Etty. In the latter part of 
his life he lived at Ross, Herefordshire. He died in 
March, 1865. 

265. A NYMPH AND CUPID. 

On canvas, 4 ft 7I in^ tiigh by 3 ft. 9 in. wide. Painted m 1831. 

FresenUd by the Society of Arts* 

PETTITT (Edwin A.). 

Edwin Alfred Pettitt^ son of J* P. Pettitt, was born in 
Birmingham in 1840, but left for London at an early age. 
He spent many years painting in Switzerland and Italy, 
and was a regular exhibitor at the Royal Academy and 
other London and provincial exhibitions. When the 
Queen visited North Wales in 1889, a picture of *' Bala 
Lake/' painted by Mr. Pettitt, was subscribed for and 
presented to her Majesty by the ladies of Bala, 

266. THE MATTERHORN. 

On canvas, 4 ft. 8 In. hi^h by 3 ft. 74 in. wide. 

Presented fy Mr Henry Wiimett 

The Matterhom, 14,800 feet high, was ascended for the first time in 1865 
by Mr. Whymper, the artist, Lord Francis Douglas, Mr. Hudson, Mr. Had- 
dow, and three guides — the two Tangwatders and Croz. In descending, 
a slip by one of the party cost the lives of Lord Francis Douglas^ Hudson, 
Haddow, and Croz, who fell from near the summit on to the glacier below, 
a distance of over five thousand feet. 



PHILLIPS (Thomas), R.A. 

Thomas Phillips was born at Dudley, in Worcestershire^ 
1 8th October, 1770. He was placed, when still young, 
with Mr. Eginton, at Birmingham, to learn glass-painting ; 
and in 1790 he went to London^ with an introduction to 
West, who employed him to paint on the window of St< 

118 



I 



i 



I 



George*s Chapel, at Windsor. In 1792 he was an exhi- 
bitor at the Royal Academy, and in 1804 was elected an 
Associate. He appeared at first as an historical painter, 
but from the year 1796 his contributions to the exhibitions 
were almost exclusively portraits ; and he exhibited alto* 
gether 339 pictures in the Academy. Phillips was elected 
a Member of the Royal Academy in 1808 ; and in 1825 he 
succeeded Fuseli as Professor of Painting. He made a 
tour in Italy after his appointment, in company with 
Hilton, to enable him the better to discharge the duties 
of his office. He composed, in all, ten lectures, which he 
published in a collected form after his resignation of his 
professorship in 1832. He died at his house in George 
Street, Hanover Square, April 20th, 1845, 

267, SIR JOHN FIL^NKLIN, R.N. 

On canva^i, 2 ft. 6 in. hig^h by 2 ft. o^ in, wide^ 

Presented by the Society of Ari^. 

Sir John Franklin, Rear-Admiral, the famous Arctic navigator and explorer, 
was bom in 1786. As a midshipman he took part in the bombardment of 
Copenhagen and the battle of Trafalgar. In April 181 8, he commanded 
the Trent in an expedition to discover the North-west passage, and returned 
unsuccessful in October of the same year. His second expedition started in 
1825, and returned in 1827. after exploring a vast tract of the hitherto 
unknown coast of North America. He sailed on his third expedition on May 
24th, 1845, ^^*^ ^^^ ^^^ despatches received from him were dated July 
J 2th of that year. He discovered the North-west passage by sailing up 
Victoria Straits and Peel Sound, now named Franklin Straits. Between 
the years 1848 and 1859 twenty-one expeditions were sent in search of him. 
Discoveries made by Lieutenant Hobson near Cape Victoria include a paper 
signed by Captain Fitzjames, certifying that FrankJin died nth June, 1847. 
Ever}^ member of this ill-fated expedition perished. A national monument 
to him and his companions was raised in Waterloo Place In 1866. 

PROUT (Samuel). 

Samuel Prout was born at Plymouth, September 17th, 
1783, and was taught drawing in the Grammar School of 
that town. He was delicate as a child, and drawing had 
great attractions for him. John Britton first employed him 
during a j'ourney in Cornwall, when collecting materials for 
his Beauties of England and Wales. In 1802 he sent some 

tig 




ifBming^ U> BriltMi wbidi §bcmtd great progress^ and he 
gjinr U^ handon u> reside with htm in ClerkeaweD for two 
ywnn. Here he capied the works of the best tjpc^fraphical 
I'll of the day. In 1804 he exhibited at die 
I- ^. . ..-ademy, and continued to do so for two years, but 
hftd 10 live In the country on account of his h^th. In 
iilf became agnin 10 London, and resided at StockwelL 
Imfifovril Ifi hia art I he mas an exhibitor at the Water- 
i:olaur ^ in 1815. and in 1820 was elected a Member. 

? * * ^ ' "H 1818, and frequently after- 

. , . , ., I . , j.v.,iih, becoming celebrated as a 

painter of churches, town halls, cathedrals, and market 
I In 1814 he visited V'enice and x^arious parts of 

1,-,U Hi* perception of the picturesque was as remark- 
able as the iikill with mhich he depicted its effects. He 
' h frv>m ill^health, but was a constant worker 

ai,*i :.,.,. He died at CamberwelK Februarj^ loth, 

iVj^t ^K^^ ^ Years. 

m. CHt'KCH K>kCH AT TOURS. FRANCE 

Vimim^o^o^ iknmma, 194 i«. li%b by ^ in. wkle. 

A69. THE PORTICX> OF OCTAVtA. ROlffi. 

yMiOm-i^^fkfkkg Jtaw^, I ft. 4I m. high bjr 1 1^ In* wkie^ 

Fr4umkJ h ^ ^Ki^^ ^^^ WtUtam Kmrtck, PC. 

Tb(» Portico tif iVtnviji was enected by Augustus, on the site of a simitar 

tinif r ■' ^ vi».. 11.,. ,u * . ...I .^j dedicated to his sister. Uoder Tittis 

It w iged in this quarter of the city, but was 

11^1 • i i. uiu I. .4r«iiadla ill 203,08 ttie inscription records. 

Tht oied an oblong sfMC^* within which stood temples uf 

T 10. Coti III this structure are frequently seen 

138. It . fied with many actoirable worits of 

the Mu. t>ooty, and it was here that the 

1ti 771: tirch ol St. Angeio in Pescheria 

^V4 e by Stephen IIL, but having been 

(u*4. eval character. 



I 



I 



PYNE (J. B.). 

James Baker P) tie was born in K a t8oo, and began 

to stiidy law, but abandoned it» ai,,,, ^.:-taught» struggled 
to make himsicir an artist. He soon obtained considerable 



I JO 






a Member of die Scxri: 
he was br BMf years 
in Italy.SwkKrin^a 
and its Envmma^** "^T 
which soon cajasc 
ijiSjo* He waft &>^ii^ ml 

id light aaii 
numbered W. J. 



and first 
wt bS^ was made 



^tL Hesfnc 

Ue pufiGisBfisd * •^ • v.u>c c 

;te DBorii:!;.'* and «^her<, 
^nowit^ lie 

ice in 



270. CUMBEBUkSD LAKE SCOSE : THISXEMULE 

WM a -tuhM miimmmig;^ c ft 1% oil higj»^ ^ c fiL ^ in. 



U» r2i4i^ 



REID (Flora M.). 

Miss Flora MadknaU Kaid was bora ia Loodoo^ but 

returned ta Scodand with iter p a r ente wfaeo three years 

old. She first stodsed iixmmg at tbe EdUborgh School 

of Art. With this exeepriow, Am lecia f ed die whole 

of her art edncatiow finom tier btother» Bfr. John R. Reiii 

Lwho from the very bcgio aiDg set her to sttsdy painting^ in the 

ropen air. Since thea she kas painted much abroad, par* 

ticularly in Belgium^ Holland^ France aod Norway. Her 

Irst exhibited pictnre was at the Ro\^ Scottish Academy^ 

i^hen she was sixteen. From that time her most importeiit 

pictures have been exhibited at the Royal Academy. Among 

them may be mentioned "The Last Sacrament/' painted 

in 1S95, and purchased by the Corporation of Liverpool. 

^Pictures of hers have also b^n purchased by the Corporations 

of Leeds and Dudley for their permanent collections* 

271. THE FIRST COMMUNION. 

Oa cajivas^ 4 fL h^fa br 5 fL wide. 

Prestnkd ^ Mr* Cmt^ My«i^^ 

REYNOLDS (Sir Joshua), P.R.A. 

Joshua Reynolds was born at Plympton, in Devonshire, 
[July 16, 1723, where his father, the Rev. Samuel Reynolds, 

111 



was master of the grammar school. Sir Joshua was 
intended originally for the medical profession, but he 
evinced very early a taste for art- He was, accordingly, in 
1741, placed with Hudson, the leading portrait painter in 
London ; he remained, however, with him only two years, 
and then set up as a portrait painter at Plymouth Dock, 
now Devonport* In 1746 he took apartments in St, 
Martin s Lane, and began practice in London. In 1749 he 
accompanied Commodore (afterwards Lord) Keppel, in the 
** Centurion/' to the Mediterranean, After spending about 
three years in Italy, he returned at the end of the year 1 752, 
by way of Paris, to England. He settled in London, and 
soon became the most distinguished painter in the capital. 
In 1768 he was unanimously elected president of the then 
newly-established Royal Academy of Arts in London, and 
was knighted by George III. on the occasion. He succeeded 
Allan Ramsay as principal painter-in-ordinary to the King 
in 1 784. He died at his house in Leicester Square, February 
23, 1792, and was buried with great pomp in St, Paul's 
Cathedral, He exhibited altogether 245 works at the 
Royal Academy, his contributions amounting on an 
average to eleven annually. He delivered fifteen dis- 
courses on art in the Royal Academy. Several complete 
editions of his literary works have been published. His 
portraits are extremely numerous ; the prints after them 
amount to about seven hundred, 

aja. DR, JOHiN THOMAS, LORD BISHOP OF ROCHESTER. 

On canvAiJ. 4 ft. i| ii». high by 3 ft. 34 in. wide. Stt lilustration. 

Dr, John Thomas was bom at Carlisle, October 14th, 1712^ and from the 
grammar sehuul there proceeded to Queen's College, Oxford. He was 
urdameil in 1737, and became D.C.L. in 1742. In 1769 he was Prebendary 
(if Westminster, and was promoted to the Deanery upon the resignation of 
BJshtJp I'earse. He also succeeded the latter as Bishop of Rochester on bis 
death in 1774, aiid filled the positioji until his death on August 22nd, 1795* 
He was also Dean of the Most Honourable Order of the Bath- Bishop 
Newton» who wn*te his life, tells a quaint story about the confusion between 
this l>ishop and another of the same name : — "' Which Dr. Thomas do you 
mean?" '' Dr. John Thomas," " But they are both named John." '' Well, 
the Dr Thomas who has a living in the City." *' They both have livings in 
the City '' '* I niean the Dn Thomas who is Chaplain to the Ring." " The|^ 
are both Chaplains to the King/' "Well, the Dr. Thomas who is a ve 

133 





^«7 



good preacher/* " They are both vtiy good preachers/' " The Dr, Thomas 
who squints." " But they both squint /' Tliis is quoted in Stanley's 
Memorials ci WesimifisUr Akhty, 



RICHMOND (Sir W. B.), R.A., K.C.B., 

D.C.L. 

William Blake Richmond^ son of George Richmond, 
R.A., was born in London, November 29, 1843. He 
obtained two silver medals at the Royal Academy Schools 
in 1857, In 1859, i860, and again in 1865, he travelled in 
Italy, in the latter year working in Rome at sculpture, 
architecture, fresco, and tempera painting. In 1870 he 
settled in England, and painted numerous portraits and 
other pictures. In 1873 he executed a series of frescoes, 
illustrating The Life of Womapt^ for Mr J. S. Hodgson, 
of Lythe Hill, Haslemere, In 1873 also, he executed the 
colossal ** Prometheus,'' exhibited in the Academy, which 
he has since presented to the Birmingham Art Gallery* 
Since then he has exhibited many works at the Academy 
and Grosvenor Gallery. He w^as elected Slade Professor 
at Oxford, in the place of Mn Ruskin, in 1878, but resigned 
the post in 1883, when Mr. Ruskin again filled it* He 
received an honorary M.A, degree, and was elected a Fellow 
of the Society of Antiquaries. He has made many studies 
in many parts of Italy, Greece, and Egypt, during several 
successive journeys. He was elected an Associate oi the 
Royal Academy In 1888, and an R.A. in 1895, In 1897 he 
was made a K.C.B. He designed and supervised the 
carrying out oi the internal mosaic decorations in St. Paul's 
Cathedral. 

AN AUDIENCE IN ATHENS DURING THE REPRESENTA- 
TION OF THE AGAMEMNON* 

On canvas, 6ft. loj tn. hig-h by 9 ft. Ji^ in* wide. Painted in 1884, and exhibited in 
the Grosvenor Gallery, 1885. 

Presented by the Trustees of the Public Picture Gallery Fund, 

'* The picture represents the theatre at Athens during the description of 
the murder of Agamemnon, as given by Clytemnestra in the * Agamemnon ^ 
of jEschylus. The scene is instinct with terror in the faces and actions of 

123 




/ 



the spectators, who sit in three rows under the shadow of the vaJahum 
extended above the colonnade which goes from side to side. Betweco the 
white shafts of the columns are seen the rocky ground near the ciqr, the 
Acropolis with its group of temples, the fanes of Theseus and Bacchus^ 
cypresses and gigantic pin^, and summer clouds trailing across the sky. 
The spectators are all attention ; the triple line of e\*es is concentrated upon 
the stage, where we seem to stand near the tragedian who has entered with 
the axe. 

" In the centre is the archon on his throne ; negr him on each hand stands 
a young priest of Bacchus^ clad in leopard's skin. To the right and left sit 
the elders of Athens. One of them seems to be conscience-stricken, and 
betrays an inward awe that is not e\4nced by his companions. At the ex- 
tremities of this row are the slaves of the theatre^ each in his quasi-Egyptian 
attire, with his hands folded before him, and absorbed by the passion of the 
actor, although all heed for ordinary displays of emotion has long been 
unknown to them. Of the rank and file of the spectators, one stands upright 
in the row ; two, leaning forward on the bench, rest their chins upon their 
hands ; while another, who has a red mantle about his head» is sttjl as a 
statue, and lets his interknit fingers lie in his lap. Several appear to be 
entranced. One has not moved his hands from the place they occupied on 
the back of the seat when the actor entered, and his face is fixed like a 
mask. One has thrust his long thin visage between his attenuated hands, 
while the strident voice rings in his ears, * I dare avow his death and justify 
the deedl* The shifting eyes of some seem to follow the movements of the 
murderous axe, and some sinking backwards, draw their breath deeply." 

When Agamemnon went to the Trojan wan he left his cousin ^gysthus 
to take care of his wife and his family and all his domestic affairs. In the 
absence of Agamemnon, ./Egysthus made his coiut to Clytemnestra and 
publicly lived with her. Her infidelity reached the ears of her husband before 
the walls of Troy, and he resolved to take full revenge upon her and her 
lover upon his return. He was prevented from putting his schemes into 
execution 3 Clytemnestra, with her lover, murdered him on his arrival, as he 
came out of the bath, or, according to other accounts, as he sat dcm-n to a 
feast prepared to celebrate his happy return. Cassandra shared his fate ; 
and Orestes, the son of Agamemnon, would also have been deprived of his 
life, like his father, had not his sister Electra removed him from the reach 
of Clytemnestra. After this murder, Clytemnestra publicly married ^'Egysthus, 
who ascended the throne of Argos. Orestes, after an absence of seven years. 
returned to Mycenae, resolved to avenge his father's murder. He concealed 
himself in the house of his sister Electra, who had been married to a person 
of mean extraction and indigent circumstances. His death was publicly 
announced, and when ^^^^gysthus and Clytemnestra repaired to the Temple 
of Apollo, to return thanks to the god for the death of the surviving son of 
Agamemnon, Orestes, who, with his faithful friend, Pylades, had concealed 
himself in the Temple, rushed upon them and killed them with his own 
hand. They were buried without the walls of the cit)% as their remains were 
deemed unworthy to be laid in the sepulchre of Agamemnon. 

Sir W. B. Richmond gives us the aspect of the Athenian audience at the 
moment that Clytemnestra describes the slaying of Agamemnon, exclaiming: 

124 




"Him twice I sfnole — twice groaning prone he fell 
With limb* relaxed j then, prostrate where he lay. 
Him with third blow 1 dowered, votive gift 
To Hades, g'uardian of the dead below \ 
Then as he fell he chafed his soul away. '* 

A . S WA N WI C K — Trtt nslatioH. 

274, PROMETHEUS. 

On canvas, i j fr. 1 1 in. high by 6 ft. 1 1 in. wide. 

Presented by Ike Artist. 

Prometheus surpassed a]] mankind in cunning and fraud. He ridiculed 
the gods, and deceived Jupiter himself. That god, to punish Prometheus 
and the rest of mankind, took away fire from earth ; but Prometheus, with 
the assistance of Minen'a, climbed the heavens, and stole fire from the 
chariot of the sun. Therefore Jupiter caused him to be carried to the top 
of Mount Caucasus, where he was chained to a rock, and for 50,000 years a 
vulture was to feed upon his liver, which was never diminished, though con- 
tinually devoured. After 30 years of torture he was delivered by Hercules, 
who killed the bird of prey. 



RIVIERE (Briton), R.A., D.CX. 

Briton Riviere was born in London, August 14th, 1840, 
being the son of Mr, W, Riviere, an artist of standing in 
London, who contributed to the Westminster Hall Exhi- 
bition of Cartoons in 1843, and who was head of the 
Drawing School at Cheltenham College, and afterwards a 
teacher of drawing at Oxford. He studied under his father 
for nine years ; entered the University, and took his M.A. 
degree in 1873. The first pictures he exhibited were home 
rural scenes, such as '* Sheep on the Cotswolds/' in the 
Royal Academy, 1858. For four years after that he came 
under the influence of the Pre-Raphaelites, and his pictures 
were rejected at the Academy during that period. Since 
1864 he has painted many famous pictures, always choosing 
his subjects among animals. He was elected an A. R.A. in 
1878. and a Royal Academician in 1881, Among his 
principal pictures may be mentioned — ** The Long Sleep," 
1866; '* Charity/^ 1870; •* Circe and the Friends of 
Ulysses," 1871 ; ''Daniel in the Lion*s Den/' 1872; 
'* Argus,'* 1873; ** The Last of the Garrison,*' 1875 j 
*' Pallas Athene and the Swineherd's Dogs,'' 1876; ** An 
Anxious Moment/' *' The Ruins of Persepolis,*' 1878; 

125 



*' In manus tuas, Domine/* ''The Poacher's Widow/' 187c _ 
*' The Magician's Doorway," 1882 ; " The Unclean Spirits 
entering into the Swine/* 1883; *' The King and his 
Satellites," 1884; *'V^ Victis,'Mn 1885; ^' Rizpah/* and 
** Union is Strength/^ in 1886, etc. He was elected a 
D.C.L. of Oxford, 1891. A number of his finest works 
were exhibited in this Gallery in 1892, Many of his 
pictures have been engraved, and others have been etched 
by various well-known artists. 

275. PHOiBUS APOLLO. 

On canvas 4 ft. 5J in. hig^h by 8 ft. wide, 
FresmUd by the Trustees of ike Public Future GalUry Fund. 

In Greek mytholog>^ Apollo is called Phoebus, or the sun-god, because 
he drove the chariot of the sun. He was a son of Jupiter and Latona, and 
brother of Diana. He received from Jupiter the power of knowing futurit>% 
and he was the only one of the gods whose oracles were in general repute 
all over the ancient world. He was the god of all the fine arts, of medicine^ 
music, poetry and eloquence, of all which he was deemed the Inventor. He 
is generally represented with long hair, a tall, handsome, beardless young 
man, holding in his hand a bow, and sometimes a lyre. He had temples 
and statues in every countr)-, particularly in Eg^-pt, Greece, and Italy. His 
most splendid temple was at Delphi, where every nation and individual made 
considerable presents when they consulted the oracle. 



ROBSON (George Fennel). 

G. F, Robson, an enninent landscape painter in water^ 
colours, was born in Durham in 1790. He displayed a 
taste for drawing at a very early ag"e, but received no 
regular instruction in art. At the age of 16 he went to 
London, and supported himself by his drawings, which he 
displayed in the window of a carver^s shop, and sold for 
small sums, A little later he tramped all over the high- 
lands of Scotland, dressed as a shepherd, and made many 
transcripts of the beautiful scenery of Loch Katrine and its 
neighbourhood. He also visited the English Lakes, North 
Wales, and Ireland* He was a constant exhibitor with 
the Water-Colour Society. Robert Hills inserted animals, 
especially deer, in some of Robson^s drawings. He died in 
London, in 1833. 

126 



I 




276, SHANKLIN CHINE, ISLE OF WIGHT. 

W&ter-colour drawing, 9i in. hig^h by iif in. wide. Stoned *'G. F. Robson/' 



RODEN (W. T.). 

William T, Roden, the well-known Birmingham portrait- 
painter, was born in Bradford Street in 1817, and was 
apprenticed to an engraver named Dew, at the close of his 
association with whom he engraved for Messrs. Hogarth, 
publishers, his most noteworthy work being a plate of 
**John Knox preaching at the Court of Queen Mary.'' 
After following the art of engraving for about ten years, 
he took to portrait painting, and attained a considerable 
measure of success, his services being in great request for 
presentation portraits. Besides those in the Art Gallery 
and at Aston Hall, there are portraits by him in the Board 
Room of the General Hospital, at Saltley College, in the 
board rooms of banks and other institutions, and in the 
hands of private persons throughout the Midlands, Lord 
Palmerston sat three times to him. He co-operated with 
others in founding the old Birmingham Art Gallery, and 
was for many years an active member of the Royal Society 
>f Artists* He continued to paint until a few years previous 
^to his death, but on Christmas Day, 1S90, he suffered from 
a stroke, which left him much weakened, and on the third 
anniversary of the attack he died at his sister's house in 
Handsworth, 1892. 

277. JOHN HENRY CHAMBERLAIN. 

On canvas* 2 ft. 5 in high by 2 U. oS in. wide. Painted in 1864. 

Prestnkd by Mrs. Chambirlain, 

John Henr)^ Chamberlain, architect, son of the Rev. Joseph Chamberlain, 
of Leicester, was bom in that town on June 26th, 1831* and was educated 
at schools there and in London. At an early age he was articled to Mr. 
Henry Goddard, an architect of some note in Leicester, with whom he 
remained for several years. He became an ardent student of the works i>f 
Ruskin, and was led to visit Venice and other Italian cities, where he made 
careful drawings of monuments of early Gothic architecture* Returning to 
England in 1856, he settled in Birmingham, and in the erection of ware- 
houses and residences endeavoured to effect an Improx^ement in the st}le 
of the buildings. In 1864 he entered into partnership with Mr. William 

127 



> 



MartiDt and many of the most important buildings in the town were the 
result. In i86i be became honorary secretary to the Midland Institute 
which office be held without interruption until the day of his death- Whe 
he undertook the management there were only a few hundred students, buti 
through his incessant labour in developing the classes^ the number wa 
advanced to four thousand. In regard to the School of Art, his work was not ' 
less notable. He was appointed chairman in 1874, and the school, under 
his fostering care, rapidly advanced in magnitude and influence. The Society 
of Artists was another organisation which engaged his special attention ; he 
was elected a member in March, 1861, and was appointed Professor of 
Architecture, and in 1879 became Vice-President. He was, also, one of the 
first trustees of Mr. Ruskin's St. George's Guild. On October 22nd, 1885^ 
be delivered a lecture on " Exotic Art," at the Midland Institute, and died 
suddenly of heart disease directly afterwards. 

278. SAMUEL LINES. 

On canvas, 4 fi. 1 in. hi^h by j (I, 3^ in. wide. Painted tn 1863. 

Permanent Loan from the Council of the Midland Institute, 

For memoir of Samuel Lines, see page 97. 

279. PETER ROLLINS. 

On canva^t 4 ft. i^ in. higfh by 3 fl. 3 in. wide. 

Presented by the Subscrihers. 

•Peter Hollins, the eldest son of William HoOins (1754-1843), sculptor, was 
bom in 1800, in his father's house in Birmingham. He rec^ved his educa- 
tion as a sculptor from his father, and took lessons in drawing from J. V. 
Barber. (See page ^.) He assisted his father in many of his works, including 
those at Alton Towers. He worked for a short time in Chantrey's studio. 
About 1828 he removed to London, and settled in Old Bond Street. He 
obtained many commissions, and his work was much admired. At the Royal 
Academy he frequently exhibited busts, allegorical groups, and historical sub- 
jects. On the death of his father he returned to Birmingham, and restored 
the tower front of St. Philip^s Church in memory of him. He executed many 
important works in the town, including the statues of Sir Robert Peel and 
Sir Rowland HilL There are fine monuments executed by him in Malvern 
Prior)^ Church. Lichfield Cathedral, and Weston Church, Shropshire. He 
was a devoted friend and member of the Birmingham Society of .\rtists 
through a!l its vicissitudes, and was one of its Vice-Presidents. He died 
in Great Hampton Street, Birmingham, on August i6th, 1886. He was well 
known and universally popular in the town. The above portrait of him was 
purchased by subscription and presented to the Art Gallery. 

280. HIS EMINENCE CARDINAL NEWMAN, D.D. 

On canvas, 4 ft. i} in. big^h by 3 ft* 4 in. wide. Painted in 1B79. 

Presented by ike Subscribers, 
128 



I 



^ 



John Henry Newman, Cardinal Deacon of the Holy Roman Church, was 
bom in London in i8oi, and educated at Ealing School, whence he pro- 
ceeded to Trinity College. Oxford, where he graduated B.A. in 1820, and 
was elected Fellow of Oriel College. In 1825 he became Vice-Principal of 
St. Aiban's Hall, and in 1826 Tutor of his college. In 1828 he accepted 
the incumbency of St. Mary's, Oxford, with the outlying chaplaincy of 
Littlemore; and in 1842 he quitted Oxford, and established at Littlemore an 
ascetic community on a mediaeval model, over which he presided for three 
years. He held St. Marj's until 1845, when by his preaching he gained such 
influence over the younger members of the University that he became, in 
conjunction with Dr. Pusey, the recognised leader of the High Church Party. 
He took a leading part in the publication of the Tracts for the Times^ to 
which he contributed the final tract. No. 90, which wa.s severely censured 
by the University authorities. In October, 1845, he seceded from the Estab- 
lished Church, was received into the Roman communion, and, after being 
ordained priest, became founder of the English Orator)% and head of its 
Birmingham House. In 1854 he was appointed Rector of the newly-founded 
Catholic University in Dublin, but resigned in 1858, and established a school 
for the sons of Roman Catholic gentr}' in Birmingham. Dr. Newman was 
created and proclaimed a Cardinal Deacon by Pope Leo XIII., in 1879. 
He wrote and published many lectures, sermons, essays, and books, including 
an autobiographical record of his life, entitled Apologia pro Vita Sua in 1864 ; 
a Callectifyn of Pnems in 1868; and an Kssay on Assent in 1870. He died 
August nth, 1890. 



JOSEPH MOORE. 

On canvas, t ft, itf in. hi^h by 1 ft. 7^ in. wide. 

Bequeathed fy Mr. Joseph Moore* 




^ 



^ jh Moore, the eminent Birmingham medallist and die-sinker, was bom 
it Eastbourne in 181 7, his parents removing to Birmingham a few weeks 
after his birth. In early life he showed much aptitude in draw- 
ing, and this led to his apprenticeship to Mr. Thomas Halliday, 
a die-sinker who then stood at the head of his profession. He 
also attended the drawing classes held by the late Samuel Lines. 
For a good many years of his early working life he was en- 
gaged solely in the production of dies for commercial purposes, but even 
while so occupied, he had a strong bias towards the purely artistic side 
of die-sinking. He went first into partnership wth Mr. John Allen, a highly 
ingenious mechanician, but their business was not successful, so that he 
began business for himself as a die-sinker, first in Summer Lane, and after- 
wards in Pitsford Street^ where he remained until his death. He produced 
many medals of great note and beauty. Though he employed other artist 
workmen in his business, the finest of his works were cut from first to last 
by his own hand. A small selection of them was presented by him to the 
Corporation Art Galler}^ some years ago. He died 1892. 



ROMNEY (George). 

Georg^e Romneyt the celebrated portrait painter, was born 
at Dalton, in Lancashire, December the isth, 1734. His 
father was a cabinet-maker of that town^ and brought Romne^j^ 
up to his own business ; but the son having shown a^ 
decided ability for drawing, the father was induced to place 
him, at the age of nineteen, with a travelling portrait 
painter named Christopher Steele, then established at 
KendaL In 1756 Romney married, and in the following 
year began painting on his own account. His first produc* 
tion, a hand holding a letter, for the post office w^indow at 
Kendal, remained there for many years. For five years 
Romney practised at Kendal, and ultimately w*ith such 
success that in 1762 he ventured to try his fortunes in the 
capital. In London he rose rapidly to fame and fortune, 
and in 1773 he visited Italy* He returned to London in 
1775* and took a house in Cavendish Square, From this 
time he divided the patronage of the great and wealthy with 
Reynolds and Gainsborough ; but his wife and family were 
never called to share his success ; they remained at Kendal, 
and during thirty-seven years he paid only two visits to the 
north. In 1799, however, he broke up his establishment at 
Hampstead, where he had built himself a large house and 
studio, and rejoined his family at Kendal. He died at 
Kendal, November 15th, 1802, and w^as buried at his 
birthplace, Dalton, ^ 

282. LADY HOLTE, WIFE OF SIR CHARLES HOLTE. " 

On canvas, 2 ft. 5} in- high by 2 ft. o| in. wtde. Painted tn 1783* 5## IllustMUian., 

PrtsenUd by Mr. Charks Hoiit Bractbrii^^ 

She was Ann, daughter of Pudsey Jesson, Esq., of Langley Hall, Warwick- 
shire, and mamed Charles Holte in 1754, ^vho succeeded his brother, Sir 
Lister Holte, in 1770. She died March 14th, 1799, at Redland Cottrt, 
Gloucestershire, (For the portrait of Sir Charles Holte by Gainsborou 
No. 171.) 



A 



ROOKE (T. M.), A.R.W.S, 

Thomas Matthews Rooke was born in Marviebone, 
and was a pupil of the South Kensington and Roy 
130 





No. 282. 




LADY HOLTE 

GfiORiiK RUMNEV. 



Academy Schools. In 1869 he entered the studio of the 
late Sir Edward Burne-Jones. In 1877 he exhibited ** The 
Story of Ruth,'' which was purchased by the Chantrey 
Trustees, and in 1879, ** Kingf Ahab's Coveting/' In the 
latter^year Mr. Ruskin revived in him an early predilection 
for outdoor painting, preferably of interesting buildings as 
main subjects. In 1879 he went to Venice to make studies 
of the mosaics and other details of St. Mark's, which at 
that time was threatened with restoration, for the St, 
George's Guild. By a disastrous accident most of the 
drawings he then made, some twenty in all, were lost* '^ I 
count it," wrote Mr. Ruskin, '^ one of the most curious 
pieces of ill-fortune which has befallen the Guild, that the 
greater part of the series of exquisite drawings produced by 
Mr, T. M. Rooke were destroyed by fire in the St, Gothard 
Tunnel — ^the Sardinian Railway Company wholly refusing 
compensation," Mr. Rooke spent some years in doing 
such work, much of w^hich is to be seen in the Ruskin 
Museum at Sheffield, w^hile his drawings of later date are 
in this Gallery. In 1891 he was elected an Associate of the 
Royal Water-Colour Society. 

283. WEST PORCH OF THE CHURCH OF ST. STEPHEN, 
BEAUVAIS. 
H Water-colour drawing, 2 ft, 3 in. high by 1 fL 9I in. wide. Painted in 1893. 

" Presented by the Subscribtn of the Society for the Preservation of Pictorial 
Records of Ancient IVarks of Art, 

This drawing was made by Mr. Rooke (under the auspices of the Earl 
of Carlisle and Sir E. Bume-Jones), in fulfilment of a wish expressed by Mr. 
Ruskin^ in 1888, when he was himself studying this church, and making 
sketches of its details. Since the drawing was made the gable of the porch 
has been restored, as well as some of the masonry and capitals of the. windows 
above. 

The west porch of the Church of St, Stephen, at Beauvais, is one of the 
finest pieces of 15th centur}' Gothic in the north of France, The imagery 
suffered much at the time of the French Revolution, when every figure was 
mutifated. Nevertheless the original design can readily be traced. The 
main subject is the " Coronation of the Virgin/' surrounded by the circles 
of heaven, which are represented on the rows of stone work in the arch. 
The Heavenly Father is in the apex, the Saints in the two outer rows, Angels 
next, and on the innermost row as many of the four- and -twenty elders of 
^m the Apocalypse as could there be placed. The design on each of these 



stones in the arch is complete in itself, a figure surrounded with beautiful 
ornament. This consists, in the outer row. of a double border of roses ; in 
the next of oak [eaves ; the next the wings of the angels form the oma- 
ment; in the last row the elders sit each in a most lovely border, that has 
unfortunately suffered most of all. Below the Coronation the many mansions 
and battlements of Heaven separate it from the two groups of the Nativity 
and the Martyrdom of St. Stephen, to whom the Church is dedicated. There 
was originally a row of four large figures on each side of the entrance- These, 
with the central figures between the doors» have entirely disappeared. The 
porches of Amiens and Chartres are similarly arranged and the figures have 
happily escaped destruction. The doors themselves, with their fine wrought- 
iron hinges, are original. 

284. SCULPTURE ON THE WEST PORCH OF CHARTRES 

CATHEDRAL. 

Water-Colour drawings, t fi. 9I in. high by 9 in. wide. Painted in 1894. 

Presmtid by the Subscribers. 

The Cathedral of Notre Dame in Chartres is one of the most magnificent 
and strongly built in Europe, conspicuous far and near, with its two tall but 
unequal bell towers and spires surmounting the hill on which the city stands, 
Among its most striking and interesting features, after its vast dimensions 
and elegant proportions, are two rich and singular lateral portals, its painted 
glass scarcely equalled in France, and its three rose-windows. In the west 
front, which is simple in its style, we have to remark the triple portal of 
pointed arches, the centre one, called Fori Royak, being supported and 
flanked by statues of royal saints. These are attenuated figures with formal 
plaited draper}% characteristic of the Byzantine sculpture of the i2th century. 
Above the door is the image of Christ in an oval, with the symbols of the four 
Evangelists. Below these are the 14 prophets, and in the arches above 
the 34 Elders of the Apocalypse, playing on musical instruments. The 
church was three times destroyed by fire. As it now exists it was dedicated 
in 1260, so that the greater part of it is 13th century' work. 

285. ROUEN CATHEDRAL, FROM THE SOUTH-EAST. 

Water-colour drawing, i ft. 9^ in. high by 1 ft. 2 in. wide. Painted in 1895. 

Stt Illustrati&n. 

Presented by the Subscribers. 

The Cathedral of Rouen, Notre Dame, dating chiefly from the 13th 
century, and finally completed in the i6th, is one of the best known of the 
greatest mediaeval buildings of Northern France, and it has for us a special 
interest fn3m its having been mainly built when Normandy belonged to the 
English crown. The architecture is, however, essentially French, and 
although the exterior of the building has suflfered much from restoration, it 
is still supremely beautiful The view in the above drawing is from the 
street running eastwards from the south transept door, and nearly all the 
masonry here shown is original and unrestored. The low square building 



132 



licr uuiiuiug ^ 




ROUEN CATHEDRAL. 

1 >U ROOKV;, A.H.W.S. 



I 



in front is the sacristy, of the twelfth century. Behind it are two of the chapels, 
and part of the ambulatory of the choir, with pointed windows of the 13th 
century below the round arches. Still further back and partly hidden by the 
turn of the street, is the nearer of the two south transept towers, the tracery 
of which was drawn and described by Ruskin in Tht Seven Lamps of Archi- 
tecture, This transept is roofed with copper, which is now green, as shown 
in the drawing. The tower beyond is the well-known Butter Tower, so called 
from its having been built from sums paid for permission to eat butter during 
Lent* 

286. THE VINE DRESSERS^ WINDOW. CH.\RTRES CATHEDRAL. 

Water-colour drawing:, to in. high by 8 J in. wide. Painted in 1894, 

Presented by the Subscribers, 

For an account of Chartres Cathedral, see note to No. 284, 
This cathedral possesses a perfect treasure of painted glass, more than 
160 windows being completely filled. They date for the most part from the 
13th century, but the glass of the three west windows, one of which contains 
a tree of Jesse, is of the 12th. The windows in the nave and choir illustrate 
subjects from the Bible and legends of saints, while in the lower compart- 
ments are seen representations of various trades, shoemakers, basket makers, 
etc., showing that the trade guilds or corporations were probably the donors 
of the windows. The lowest part only of *' The Vine Dressers' Window " is 
represented in the drawing, and this is divided into nine compartments, two 
of which represent the donors, the vine-dressers themselves in one, and 
Thibaut of Chateaudun in the other. The latter, who was probably their 
lord, must have had a bad reputation, as he was known as " Le Tricheur," 
or " The Ripper" The other compartments are devoted to the story of 
Joachim and Anna, including the Annunciation to them, the Refusal of 
their Sacrifice, their meeting at the Golden Gate, and little Mary in her 
Bath. The subject of the upper part of the window is the Birth and Life of 
the Virgin, 

287. WEST DOOR OF ST. OURS, LOCHES. 

Water*cotour drawing, i ft, 6^ in. high by r fl. to in. wide. Painted in 1896. 

Presented by the Subscribers. 

Loches is one of the most picturesque towns of Touraine, the buildings 
crowded together round the base of a lofty rock. The Church of St. Ours 
Is a very interesting monument of architecture, standing quite alone in its 
singularity. This collegiate church, which is within the area of the Chateau, 
was begun by Geoffroy Grise Gonelle, Count of Anjou, in 962, and continued 
by his son Foulques Nera, who built the nave. It was in part rebuilt in i iSo 
by Thomas Pactius. The low square vaulted porch, or narthex, of early 
Romanesque work, out of which opens a large and very perfect doorway, 
shown in the drawing, rich in mouldings and sculptured figures, was added 
In the r2th century*. The carving of the doorvsay represents "the Divine 
Power, sitting, enthroned and adored, above the arch of a strange world: 

»33 



H Power, sii 



the Portal to the Holy Place." St. Otkrs was a young man of Cahois, who 
establUbed himself in Locbes in a small monastery, and founded several 
Chnsdaji settlements in Touraine. Among other improvements be intro- 
duced water-mills, A Gothic chief named Silarius^ not being able to deprife 
him of bis mill^ set up one of bis own^ and to work it drew away the water 
from the monks. Recourse to incessant prayer resulted in the destruction of 
the mill of Silarius by a flood. The later history of Locbes and its neigh- 
bours is marked by constantly recurring law suits as to rights in water power 
for the mills. In and around the town the number of ecclesiastical founda- 
tions is remarkable. 

288. THE CHAPEL OF ST. JEAN DU LIGET, IN THE FOREST 

OF LOCHES. 
Water-colour drawing:, 7f in. high by taj in. wide. Painted in 1897. 

PresmUd by the Subscrt^ers, 

The Chapel of the Carthusians of St. Jean du Liget, in the Forest of 
Locbes, Touraine, is, with a ruined well close by, the only remnant above 
ground of a first settlement of the Monastery for which Henry IL, as a 
Duke of An jou, founded in 1 1 76 a new place of abode a mile distant This 
was» no doubt, partly in reparation for the murder of Thomas a Becket, 
since its gateway bore the following inscription: — " Anglonira Henricus rex, 
Thomae cedes cruentis, Ligeticos fundat Cartusiae monachos "— '* Henry, 
King of England, founded this monastery of the Carthusians of Liget, in 
payment for the blood of Thomas," 

289. WALL PAINTINGS IN THE CHAPEL OF ST. JEAN DU 

UGET. 
Water-colour drawingi i ft* 8| in. higrh by 3 ft. 3I in. wide. Painted in 1897. 

Presented by the Subscribers. 

The circular wall of the Chapel, built of hard chalk, is divided into eight 
spaces by its seven small windows and wide west doorway, that cuts into 
the greater part of the two adjacent walls; and, within, a design is painted 
on each of the six remaining spaces. Of these, the drawing shows the three 
on the south side, the subjects being, ist^ The Marys at The Sepulchre 
(No. 4) ; 2nd, The Death of Mary (No. 5) ; and 3rd, an epitomised Jesse 
Tree, or Genealogy of Christ (No. 6). At the sides of the windows are 
canonijced bishops, among them being Benedict, Giles, and Nicholas. Above 
these are heads of prophets, with inscriptions from their books. To the 
right is *' Abraham," with " In thy Seed shall all the Earth be blessed/* in 
Latin, on his scroll. The upper subjects were of the seven churches. The 
drawing shows ** Loadiciam," and part of *^ Philadelphia " on the red band. 

290. HOUSE OF THE SALAMANDER, IN LISIEUX. 
Water-colour drawing, i ft. gf in. high by it| in. wide. Painted in 1891. 

Presented by an Anonymous Donor, 



I 



Lisieux ts a small town in Calvados, Normandy, some thirty miles from 
Caen, It was once the capital o( the Celtic tribe, the Lescovians. The 
Hotel de la Salamande, believed to have been the hotise of a goldsmith, 
is in the Rue aux Feves (properly Fevres), or Street of the Smiths. It is 
also locally named " Manoir Francois Premier/' the salamanders sculptured 
on its corbels being the well-known device of that king. A drawing of this 
house, by Samuel Prout, was reproduced in Mr. Ruskin's illustrated cata- 
logue of the Hunt and Prout Exhibition, held by the Fine Art Society in 
1879. 



I 



291. NOTRE DAME LA GRANDE, POITIERS. 

Water-colour drawing, i ft. 2| in, high by 2 ft* 3! in. wide. Painted in 1898. 

Presented by the Subscribers. 

This church is a very fine example of the florid Romanesque style in its 
remarkable west facade, which is covered with sculpture from top to bottom, 
happily not yet destroyed. Its architecture is closely connected with a 
group of churches lying to the south, the principal one being at Angoul^me. 
The facade rests on three arches, the central one, forming the entrance, 
being circular, the two side ones pointed, but aU decorated with mouldings 
and capitals of the same character. The rest of the front, on each side of a 
tall round-headed window, originally circular, is occupied by arcades filled 
with statues, and with bas-reliefs beneath. Above all, upon the summit of 
the gable* is the pointed almond-shaped niche (vesica /niseis), containing a 
statue and other sculpure, much weather- worn. The whole fagade is flanked 
by two round turrets, and the probable date is the middle of the 1 2th century. 
The whole of it is wonderfully mellowed by long exposure to the sun, and 
rain, and wind. There is a glow about it like that of a very old picture. The 
outlines of the innumerable figures are softened, not one angle remains. 
This ancient church, with all its magnificent wealth of ornament, stands 
modestly in the market place, and the booths of the peasants are about it. 
The common people come and go with their fruits, and flowers, and vege- 
tables, and there are busy, noisy little carts and quaint old vehicles that 
seem nearly as ancient as the church itself. 

Mr. T. M. Rooke, the artist, writes: — ^* The subjects of the sculpture, 
beginning on the lowest story at the further comer, are the Temptarion ; 
Nebuchadne2;iar on his throne (as type of pride, the cause of original sin) ; 
the Prophets who foretell Christ^s coming (four half- figures with scrolls and 
books) ; the Annunciation ; a Jesse Tree (a figure holding branches that end 
in a flower, over which a dove stoops, indicative of the genealogical descent 
of Mary and Christ) ; the meeting of Mzry and Elizabeth, each coming out 
of her city, the gate of which is held open by a maid ; the Nativity — Mary 
pointing to the manger-cradle ; the bathing of the Infant ; and Joseph seated. 
In the upper arcading, the two outer figures are St, Martin and St. Hilaire, 
native and early Bishop of Poitiers. Next the window is Peter with the keys. 
The remaining three personages, and the eight in the lower row\ are doubt- 
less the other apostles, but there is now no means of distingiushing them. 
In the aureole of the gable above, is Christ Ascended, with the four Symbolic 

US 




Dut Hto. The diagonal setting of the stones in the gabb, 
is se«n again in the spandnls of the upper siorv of t!»e centra! 
tower, and the peculiar shaping of the stones next below them does not appear 
to be Inlay^ but the form of the construction of that part of the waJL On 
the roof of the centraJ tower and the side pinnacles the scalework is an * invita- 
tion ' to the more rapid descent of the surface* moisture* The lower |>ait of 
the central window is a restoration of about 1845, the near angle of the 
church a still later one. The side porch and chapeL seen beyond, are 
additions of the later Gothic period ; between them, the chimneys and roof 
of a new Sacristy are visible.** 

292. WEST FRONT OF BOURGES CATHEDRAL. 

Water-colour drawitig*, 2 fl, 6 in. hig^b by i ft. 9 in, wide. PA-inted in 1899, 

FrtsenUd hy the Smhicrihers. 

Bourges, the ancient capital of Berry, in France, was the capital of the 
kingdom under Charles VI L, until Joan of Arc delivered Orleans in 1429. 
Louis XL was bom there in 1423. The Cathedral of St Etienne is one of the 
most beautiful churches in France, its construction dating irom the 13th 
centur)% although it was not finished until the i6th. The West front, though 
wantmg in unity, has an imposing effect, and is exceedingly rich in decoration. 
It has five doors which correspcMid \'ri th the naves. These doors are orna- 
mented with numerous sculptures, among which may be specially noted the 
tympanum of the central entrance, representing the Last Judgment. This 
door and the two on the right date from the 13th century, while those on the 
left are only of the i6th. In the centre of the fa<;ade is a magnificent rose- 
window. The tower on the north, called Tour de Beurre, or the Butter Tower, 
was built in the i6th century, partly from the sums paid by the faithful for 
obtaining permission to eat butter in Lent, and hence its name. (For a 
similar tower at Rouen see No. 285.) The cathedral is famed for its stained 
glass, chiefly of the 13th century, probably the finest now remaining in 
France. 

293. SENLIS CATHEDRAL, FROM THE NORTH. 
Water-colour drawiog^, j f^. 7I in. high by i Hi* 4I in. wide. Painted in 1900. 

FrucnUd by the Subscrihcr^. 

Senlis is a small town in France, twenty miles north of Paris, in the depart- 
ment of Oise, on the river Nonette, the ^* civitas Sy\^lvanectensium " of the 
Romans, Part of the old Gallo-Roman walls still surround it The fine 
Cathedral was built between the years 1155 and 1181, the two west 
towers being part of the work of this period. The spire on that to the south 
is a ch&f'd'aBU\Te of 12th century architecture, its total height being about 
260 feet. The transepts were added early in the i6th century, the drawing 
showing part of the front of the northern one. The west porch has fine 12th 
century sculpture of great beauty. The wooden-frame building in the fore- 
ground contains the church records, and the tiled roof behind it covers the 
Sacristy. There are several other fine monuments in Senlis, particularly the 
abbey-church of St. Vincent, 

136 



I 



A 



194- THE CASTLE OF JEAN DUNOIS, CHATEAUDUN. 

Water-colour draw'mgr, 2 (u 5 in. high by 2 ft. 6§ in. wide- Painted in 1901. 

Presented by the Subscribers* 

Chateaudun is a small town on the Loire, north-west of Orleans, the *' Castel- 
lloduoura " of the Romans. The Castle is a very remarkable building, dating 
|chiefly from the 12th and isth centuries. The greater part of the edifice 
was erected by Jean Dunois, the bastard of Orleans, son of Louis, Duke of 
Orleans, and brother of Charles VL, a famous fighter of the 15th century, 
who was active in relieving France from the English. The Countship <>f 
Chateaudun was ceded to him by the Duke, when the latter was prisoner- 
jOf-war in England, It is surmounted by a tower ninety feet high, contain- 
ing a very fine staircase, built by Thibaut le Tricheur in the i6th century. 
It also possesses a beautiful Chapel. The nearest angle shown in the draw- 
ing contained accommodation for the garrison and servants, including a 
vaulted room called the hall of the four hundred guards, and immense 
kitchens and bakeries. The large stone spout, a little above the house 
chimney in front, is for the drainage of the Scullery, and the three barred 
windows near it are those of dungeons, one of them a " condemned " cell. 
There is also an oubliette. Two grand halls occupy the main sf^ace in the 
more distant part. The feudal tower, of the loth and 12th centuries, is 
the dominant feature of most views of the Castle, but in Mr, Rooke's dramng 
it is hidden by the main mass of the building ; the chapel in the courtyard 
lis also to the rear of these north and western faces. 

The Castle now belongs to the Due de Lu)Ties, a descendant from Jean 

Dunois. but it remains unoccupied, under the care of a gate-keeper. A 

Bharp fight occured at Chateaudun- on the igth October, 1870, between 

Flbout 4,000 French, who had barricaded the streets, and a body of German 

infantry and horse, who succeeded in capturing the town. 



295. WEST FRONT OF WELLS CATHEDRAL, 

Water-colour drawing, 3 ft, o J in. high by 2 ft. 4^ in. wide. Painted in 1902. 

Presented by the Subscribers, 

This drawing is taken from a position opposite to the north-west comer 
of the Cathedral, from which the view is southwards across itj the time 
being a little after midday, when the light begins to strike on its prominent 

llines and angles. 

The main building is of the Early English style, which succeeded the 
Korman, and was erected under Bishop Jocelin, a native of Wells, and 
brother to Hugh, Bishop of Lincoln. It was consecrated in 1239. The 
upper part of the further or south-western tower is of the time of Bishop 
Hare well, who died in 1386. It was largely built at his expense, and goes 
by his name ; as the near, or northwest, tower is called after Bishop Bvibwith, 
out of whose estate the cost nf finishing it was provided. He died in 1424. 

[Behind the near tower, part of the north side of the nave is seen, and one 
comer of the centre tower of the church. The uppermost row of the figures, in 
the centre of the west front, is of the twelve Apostles, many of their identi- 

137 



fying erabiema being stili visible. St Andrew, patron of this Churchy and 
St John, are the two in the centre, St Andrew, with one limb of his 
diagonaJlj'pIaced cross, can be seen just beyond the near centre buttres*. 
The row underneath them is of the nine orders of the Angels ; and below 
this, continued all along the front and round the flanking towcts, are the 
Dead issuing from their tombs. The Summoning Angels with their trumpets 
are, some of them, still in their niches at the tops of the central buttresses. 

The identity of the three rows of p>ersonages occupying the , 
rest of the sculpture is doubtful ; it seems rery uncertain that| 
they represent the originators and supporters of the English f 
Church, as has been suggested. On the lowest row, between] 
the arches, are quatrefoils containing Old and New TestamenI 
subjects of great beauty, and within these arches are smaller quatrefoilal 
with incensing Angels. 



296. WEST FRONT OF THE CHURCH OF ST. PERE-SOUS 



VEZELAV, IN BURGUNDY. 

Water-colour drawing, 3 A. 3I in. high by 2 Ci, 2} in. wide« 

See /iiusinttwn. 



Painted in 1903. 
FrtsenUd by the Subscribers, 



The church of St. Pere-sous V^xelay, in Burgundy, is believed to havej 
been founded about the year 1 240, by the Abbey of Vdzelay, on the site of J 
a monastery which was destroyed by the Normans. It did not become thei 
Parish Church until the end of the i6th century, when the old village church 1 
became ruinous during the wars of the time. The village, with two hamletsl 
near it, contains 900 inhabitants. The three epochs of French Gothic 
represented in this church. The tower, and the west front with its adjacenti 
five bays of the nave^ are of the 13th century; the porch, in most part, of] 
the 14th, with some 15th century changes and additions; while the wholef 
east end was rebuilt in the 15th century. 

The figures on the west front are on a screen, rising clear above the roof 
of the nave. Under the central figure of Christ is Stephen, the first martyr, ' 
to whom a chapel within the church is dedicated. He holds a book as the) 
first Preacher of the Gospel. The other figures are, to the right, St, Paul j 
with his sword, and the beardless St. John holding his Gospel pen> andl 
another New Testament writer, perhaps St. Jude, who is half hidden byl 
the pinnacle. The three to the left are St. Peter with the keys, St Andrew! 
with his crosSj placed here as Patron of Burgundy, and James the ElderJ 
with pilgrim staff, perhaps to recall the departure from V62elay of the second 
Crusade, The lion and the dragon on each side under the rose-window 
signify the justiciary rights over the village held by the Abbey of V^zelay. 
The unfinished screen flanking the central gable on the right, would perhaps^ 
have been surmounted by statues. Notice should be taken of the Angels 
who, from the four comers of the tower, sound the resurrection trumpets 
to the four quarters of the world j and also the curious medallions at the top j 
of the tower. 

'38 



ROOM (Henry). 

Henry Room, portrait 
Birmingham, and enjoyed 
residing in Pentonville in 
at the Academy, and in 
Birmingham for exhibition. 
and continued to exhibit his 



painter, practised chiefly in 
a reputation here. He was 
1826, and exhibited a portrait 
1827-28 sent portraits from 
In 1830 he went to London, 
portraits, and while practising 



there painted *'The Interview of Queen Adelaide with the 
Madagascar Princes at Windsor/* and *' The Caffre Chiefs 
Examination before the House of Commons* Committee/' 
Many of his portraits are engraved in the '* Evangelical 
Magazine/* He did not exhibit at the Academy between 
1840-47, but in 1848 sent his last work, He died August 
27th, 1850, age 48. 

297. THE MESSENGER BOY. 

On canvas, a ft. 5 in. high by 2 ft. wide. Painted about 1835* 

Prtsented by Mr, Howard Henry Room^ 

This picture is a portrait of a boy who attended upon the artist and Mr. 
Peter Hollins^ the sculptor, when they occupied joint studios, at 1 7 Old Bond 
Street* London. 

ROSSETTI (Dante Gabriel). 

Gabriel Charles Dante Rossetti, who from 1850 or there- 
abouts called himself Dante Gabriel Rossetti, was the son 
ot Gabriele Rossetti, a political exile from the NeapoHtan 
kingdom, and of Frances Mary Lavinia (PoHdori), an 
Englishwoman of Italian parentage (Tuscan) on the 
father's side. He was born in London o\\ 12th May, 
1829, Gabriele Rossetti was Professor o{ Italian in King's 
College, London, and subsisted by teaching his language; 
in tetters he was known as a patriotic poet, and as a 
speculative commentator upon Dante's writings, and upon 
other kindred branches of literature. Dante Gabriel was 
educated at King's College School, where he had J. S. 
Cotman for drawing master^ but he left school in or about 
1843 to study as a painter, becoming a student in the 
Antique School of the Royal Academy, and afterwards 

139 



benefiting from the friendly guidance of the painter. For 
Madox Brown, In 1848 he associated himself with thre 
rising artists — William Holman Hunt^ John Everett M ilia isj 
and Thomas Woolner — in founding the so-called Pre 
Raphaelite Brotherhood, with a view to a reform 
re-development of art. There were three other member 
of the Brotherhood, Frederick George Stephens, Jamc 
CoHinson, and VV^illiam Michael Rossetti, his brother;' 
Collinson seceded after a while. Rossetti exhibited his first 
oil picture, the ** Girlhood of Mar>' Virgin," in 1849; he 
soon afterwards resolved to withhold his works from exhi- 
bition altogether. In i860 he married Elizabeth Eleanor 
Siddall, daughter of a Sheffield cutler — she died in 1862. 
Rossetti, who had already made some mark as a poet by 
compositions printed in the Germ^ 1850, and in The Oxford 
and Cambridge Magazine^ 1856, published his first volume, 
the translations named "The Early Italian Poets,*^ in 1861 ; 
in 1870 appeared the volume '' Poems,-' and in 188 1 the 
same volume with some modification of its contents, and 
the ** Ballads and Sonnets/' He died on the 9th April, 
1882, at Birchington-on-Sea, near Margate, Among his 
best known works may be mentioned ** Ecce Ancilla 
Domini," 1850 ; *' Found," 1853 ; "' Paolo and Francesca ;" 
"Heart of the Night"; ^*Beata Beatrix"; '41 Ramoscello'* ; 
«*The Blue Bower"; *^The Beloved"; '*The Adoration 
(Landaff Cathedral Altar-piece); *' Proserpine"; '* Dante's 
Dream '' ; *' Venus Verticordia " ; etc., etc. 




I9S. BEATA BEATRIX. 

On canvas, 2 ft. 9 in. hig-h by 2 ff, 1^ in. wide. 

The subject of this picture is taken from Dante's Vita Nuffva, Beatric 
Dante*5 beloved, is represented sitting in a balcony of her fathers hous 
in Florence, overlooking the city. The river Amo, its bridge, the Pont 
Vecchio, and Giotto's Tower can be seen from the window. She is in a trance ; 
living, but for symbolical purposes the trance is to be regarded as emblem- 
atic of death. A dove places in her hand two red poppies, emblems of the 
sleep of death- Dante and Love, the latter holding a flaming heart in his 
hands, on their way through the streets as she is rapt from earth to heaven, 
become conscious of her passing, and Dante gazes stricken at Love. On 
the frame are the following inscriptions: — ^*' Quomodo sedet sola civitas!" 
(" How doth the city sit solitary "), the first words of Jeremiah's lamentation, 

140 



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No. 299. 


THE BOAT OV LOVE 






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D» t;. KOSSETTI 










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by Dante id the VtSa Nmnfa to show the grief o( the city at Beatrioe's 

"* Vejii, Sponsa. de Libano/' biblical quotation used by Dante \n his 

^urgaUfrw at the coming of Beatrice in the Garden of Eden ; and *^ QueUa 

I'beata Beatrice la quale \\\e in delo cogli angioli in terra col la mia animm ** 

I (" That beatific Beatrice who lives in heaven with the angels, and cm eaith 

with my soiil ") a quotation from Dante's C&mriftJ, 

This picture, which has been often, but not accurately, called ** The Dying 
Beatrice," is a replica of the one now in the National Gallery of Priti&h Art, 
presented to the nation by Lady Mount -Temple, The latter was painted in 
1863-65, some time after the death of the artist's wife, with pc^rtraiture so 
faithfully reminiscent that one might almost say she <^t, in spirit and to the 
mind's eye, for the face. In 1871 Rossetti painted with some reluctance a 
replica for Mr. William Graham, which was distinguished by the addition 
of a predella^ representing the meeting of Dante and Beatrice in the Garden 
of Eden. 



^ 



THE BOAT OF LOVE. 

Study in monochrome for 3k picture, 4 ft. i in. hijrh by 3 ft. 1 in. wide. 
S^t lUusfratii'n^ 



The ** Boat of Love ^' was commissioned by Mr. William Dunlop in 1S64, 
but the arrangement fell through. It was about this time* or possibly some 
few years later, that Rossetti sketched out in monochrome the composition 
for this subject, one of the most considerable and tning groupings which 
he had ever brought to the oil-colour stage. Several times during his life 
he proposed to finish it as a picture, but it remained in his studio until his 
death, when it was purchased for the Birmingham Art Gallery* It represents 
Dante, Beatrice^ and their companions embarking in a pleasure boat, acconl- 
ing to Dante's second sonnet, beginning 

" Guido vorrei che tu e Lapo ed io," 
addressed to Guido Cavalcanti, and referring to Lapo degli Uberti. 

** Guido, I would that Lapo, ihou and I 

Were taken by some <ikiHed enchanter's spell* 

And placed on board a barque that should »peed well 

Through wind and wave, and with our will comply ; 

So that, nor evil chance nor storm}^ sky 
Should be to our desire impediment. 
So, living: always in one full consent, 

Desire should grow to dwell in company : 

And Lady Vanna, Lady Bice too. 

With her who nobly fills my thirtieth linCi — 
Would that the good enchanter these might move 
With us to speak for evermore of Love ; 
And each of them in full content combinei 

E^en as I deem 't would be with me and you I '* 

Dean Plumtre. — TranslaiMn, 

This sonnet has also been translated in verse by Shelley. 

Guido Cavalcanti, the Italian poet, bom in 1230, was Dante's dearest 
friend* He was banished from Florence for mercantile transactions with a 
[Guelph by the Ghibellines, a daughter of one of whose chiefs he had married. 
[Lapo degli Uberti was the son of Farinata, and father of the poet Faxio, who 

141 



wrote the DttUmwndo. The ladies who would have been represented in the 
picture^ as they are sung in the sonnet, were Vanna, or Giovunna, known 
also as Primavera, the object of Cavalcanti's love ; Beatrice* or Bice, Dante's 
beloved; and a nameless lady loved by Lapo. 

500. SIR GALAHAD IN THE RUINED CHAPEL. 

Water-colour drawitigt » ^4 in^ higrh by 13^ in. wide. Se€ lUustrsUi&m* 
This water-colour was painted in 1859. It is the same design which is 
engraved in Moxon's illustrated TennysoUi as an illustration to ** Sir Galahad/' 
Sir Galahad, son of Sir Launcelot and Elaine, one of tlie 
Knights of the Round Table, was so pure in life that he was 
successful in his search for the Holy Grail ** Then Sir Gala- 
had came unto a mountaine where he found an old cbappel, 
and found there nobody, for all was desolate. And there bee 
kneeled before the alter, and besought God of holsome counsaile; so, as 
he praied, hee heard a voice that said thus : ' Go now, thou adventurous 
knight, unto the Castle of Maidens, and there doe thou away all the wicked 
costumes.' '' — Malory, Le Mori d'Arihure. 

•* When down the stormy crescent goes, 
A light belore me swims, 
Between dark stems the forest glows, 

I hear a noise of hymn* : 
Then by some secret shrine I ride ; 

I hear a voicei but none are there ; 
The stalls are void, the doors are wide, 

The tapers burning fair. 
Fair gleam** the snowy altar<cloth| 
The silver vessels sparkle clean. 
The shrill bell nng^s, the censer swing's, 
And solemn chaunts resound between/' 

Tennyson. — Sir Gniahad. 



V 



301. 



OUR LADY OF PITY (unfinished work). 

On pianel^ 3 ft. 1 in, high by 2 ft. 9 in. wide. 

Ai present in the Munidpai School of Art. 

RUDD (Charles). 

PARADISE STREET, BIRMINGHAM, 1840. 

Water-colour drawinjg-, S in« hig^h by 1 1 in* wide. 

Presented by the Executors of (he Painter, 



RUSKIN (John). 

John Ruskin, son of a London merchant^ was born in 
London, February 8th, i8ig, and educated privately, and 
at Christ Church, Oxford, where he gained the Newdigfate 
Prize in 1839, He studied painting under Copley Fielding 

142 






^ 

u 



7^ 



U3 

< 

a 



t/) 



« 

o 



and J. D. Harding. In 1843 he published the first volume 
of ** Modem Painters,"' which had been undertaken maiuly 
in defence of Turner. It had an immediate success, and the 
writer s reputation as a writer on art was assured, alihougjh 
it was attacked with bitterness by a number of critics. The 
second volume was published in 1846, after a residence in 
Italy, and the scope of the work was greatly enlarged* The 
last, and fifth, volume is dated 1860, In 1S49 *' The Seven 
Lamps of Architecture '' appeared, and ** The Stones of 
Venice "in 1851-53, The illustrations in these books dis- 
played Ruskin*s own artistic powers. He continued to 
expound his views by writing and lecturing, and was a 
staunch defender of the English Pre-Raphaelites, tt is 
impossible here to mention even the titles of his chief ux>rks 
on artistic, social, and economic questions. He was Rede 
Lecturer at Cambridge in 1867, and was elected Slade 
Professor of Fine Art at Oxford several times, resigning 
the post in 1884 ovknng to ill-health. He founded the St. 
George's Guild and Museum^ and was very generous in 
his gifts of money and pictures to Oxford and elsewhere* 
During the latter years of his life he lived in tranquil retire- 
ment at Brantwood, Coniston, where he died January 20th> 
1900. He had been nurtured on the English of the Bible, 
and owned the priceless gift of a matchless style, being one 
of the few great writers of the Victorian era of letters. 

302. DETAILS OF A BUILDING ABOVE THE RIALTO, VENICE. 

Drawin^f \q lead pencil, partly carried out in water-coloum, i ft. t \n, high 

by 1 ft. 4f in. wide. 

Presented by Mrs. Arthur SiVirm. 

An unfinished pencil drawing, dated 1852, only earned out in colour in 
one corner, with pencil notes as to the details of the sculpture «nd the niUniri 
of the marbles. It represents the pillars and pointed arches of a pataco fmnt 
on the Grand Canal, and is an example of the innumerable careful «tudio« 
of Venetian architecture Ruskin made while writing his great book, ** The 
Stones of Venice." 



SEGHERS (Daniel). 

Daniel Seghers, or Zeghers, was born 
December 5th, 1590. He was first a pupil 



at Antwerp^ 
of his father, 



143 



Pieter Zeghers, but his taste led him to flowers and fruit, 
and he became a disciple of Jan Brueghel in 1609. He was 
admitted a master of the Antwerp Guild in 161 1, but in 
1614 he became a lay-brother in the Society of Jesuits, and 
abandoned painting during his novitiate. Revisited Rome 
in this capacity, and on his return his reputation grew 
rapidly^ so that many princes sought his work, and his 
convent grew rich. He was the friend of Rubens^ for 
whom he frequently painted garlands and borders of 
flowers around portraits and historical subjects. He 
collaborated with Rubens, Van Dyck, Con, Schut, his 
brother (Gerard Seghers), and others in the decoration of 
the New Church of the Jesuits. In a similar manner he 
collaborated with other contemporary artists such as Van 
Thulden, Bosschaert, Quellinus, Adriaan Brouwer, and 
others, as in the above picture. The Empress of Germany, 
the King of Spain, the Count Palatine Philip William, and 
the Prince Frederick Henry of Orange covered him wnth 
honours and precious gifts. The leading poets sang the 
praises of his flowers. He had a great many imitators, 
several of whom were probably his pupils, such as Verendael, 
Yckens, Galle, Gillemans, Luckx, Van Thielen, and even 
Davidsz de Heem, but no one surpassed him. He died at 
Antwerp, November 2nd, 1661. 



303. FLOWER PIECE. 

On canvas, 3 ft. 9 in, hig-h by 2 ft. 10 in. wide. 

Bequtaihed by Mr. A, 



E. Evcriti, 



SOLOMON (Simeon). 

Simeon Solomon was born in 1841, and received his first 
education in drawing at Cary^s Academy, in Bloomsbury, 
where Dante Rossetti had already learned the rudiments of 
his art ; and from which place Simeon Solomon, like 
Rossetti, proceeded to study at the Schools of the Royal 
Academy, His father having died while he was yet a lad, 
Simeon Solomon was chiefly committed to the care of his 
brother, Abraham Solomon, of considerable repute in his 
day as a painter of the school of Egg ; his most charac- 

144 




teristic work being the once popular picture^ *' Waiting for 
the Verdict,*' exhibited in the Royal Academy in 1857, 
Dante Rossetti and Abraham Solomon having been fellow- 
students at the Royal Academy, Simeon Solomon early 
made the acquaintance of that singular genius, and ex- 
perienced his influence* In 1858 he exhibited his first 
drawing, at the Royal Academy ; and in i860 his picture 
Bof *' Moses *' in that exhibition called forth the praises of 
Thackeray, in one of his Roundabout Papers. His master* 
piece, ** Habet," and his single large oil painthig, was 
exhibited at the Academy in 1865 ; while other important 
works by him were shown at the Dudley Gallery during 
these years. In 1871, he published his one literary per- 
formance, entitled ** A Vision of Love Revealed in Sleep/* 
being a narrative in prose, by which he sought to connect 
and explain the many mystical designs worked out by him 
in his various drawings and paintings. The book was 
reviewed by Swinburne in the '* Dark Blue" for July, 187 1, 
who, during the course of his essay, observes that his verses 
called '* Erotion " were ^'written as a comment'' upon 
Solomon's picture of ** The Temple of Venus." Nor was 
"Erotion" the only copy of verses in *' Poems and Ballads'* 
occasioned by Simeon Solomon. Of these may be men- 
tioned '*Fragoletta" ; and the dedication of that remarkable 
volume to Burne-Joneto marks another influence and another 
friendship of Simeon Solomon. In 1866, he made the first 
of his three journeys to Italy; and the influence of Luini 
and II Sodoma, among others, may be said to have chiefly 
determined the characteristics of his second manner. The 
last picture exhibited by him was in the Royal Academy of 
1871. 



h 



A GREEK ACOLYTE. 

Water* colour drawing, i ft, 5I in. high by 1 fi. o^ in. wide, 

Frtunkd by 



Painted in 1867-68. 
the Misses Bufm^ 



R.I. 



SYER (John), 

John Syer, senior, was born at Atherstone, Warwickshire, 
on May i7thj 1815, but spent most of his early life at 

H5 



Bristol, where he received instruction from Pisher^ a minia- 
ture-patnter in that city. His water-colour drawings were 
boJd, free representations of Welsh and English scenery, 
broad in style, after the manner of David Cox, and he was 
also much influenced by the work of William Miiller* One 
of his finest oil pictures is a view at Exeter, About the 
year 1850, Messrs. Rowney and Co, published several 
selections of his sketches, such as ** Marine and River 
Views," '* Rustic Scenes," and also included some of his 
work in their ** Studies from the Portfolios of various 
Artists, drawn from Nature and on Stone/^ Part III. of fl 
this publication consisted of drawings by Syer He was a " 
Member of the Royal Institute of Painters in Water^Colours ; 
and for some years he belonged to the Society of British 
Artists, but resigned his membership in 1875, after his 
election to the Institute. He also exhibited at the Royal 
Academy between the years of 1832 and 1875, He died on 
June 26th, 1885, at Exeter, while on a sketching tour, after 
a few days' illness, at the age of 70. 



J05, A WRECK ON THE WELSH COAST. 

On canvaa, 3 ft. 4 in. hi^ by 5 ft. wide. Painted tn t86o* 

Presented by Mr, Richard Pe 



, after U 
icitor, " 



TAYLER (A. Chevallier). 

A. Chevallier Tayler, son of Mr. W. M. Tayler, soli 
was born at Leytonstone, Essex, in 1862, He entered the 
Slade School in 1879, gaining a scholarship of j£$o^ which 
he held for three years, and winning many prizes. Later 
he studied for a year under J, P. Laurens, in Paris, and for 
a similar period with Carolus Duran, From there he 
journeyed to Newlyn, and became a fellow-worker with Mr, 
Stanhope Forbes, A.R,A. Since that time he has been a 
constant exhibitor at the Salon (of which he is hors concours)A 
Royal Academy, etc., and has painted, among other works, 
**The Pedlar*' (which received a medal at Paris}, ** Bless, 
O God, these Thy Gifts,*' *'A Dress Rehearsal," **The 
Encore — Home, Sweet Home," ** The Last Blessing,'* 

146 



** Vanities/' " Cantus Evangelii/' ** Sisters," ** Ecce Agnus 
Dei," *'Hont soit qui mal y pense/' *^* Dinners and Diners," 
etc. He is a member of the New English Art Club, 
the Institute of Painters in Oil-Colours, and the Anglo- 
■ Australian Society of Artists. 

306. THE DEPARTURE OF THE FISHING FLEET, BOULOGNE, 

LCLA VIE BOULONNAISE.") 
On canvas, 4 ft. 5 in, hig^h by 6 ft. 4 in, wide. Painted in 1891. See Illustratt^tu 
Presented by Mr. Richard Peyton. 
I TAYLOR (Edward R.). 

Edward R. Taylor was appointed head-master of the 
Lincoln School of Art on the opening of that school in 1863* 
In 1876 he was appointed head-master of the Birmingham 
Municipal School of Art, and held that position until 1903. 
In both places he has trained pupils who have become 
well known in the world of art; among others, Messrs. 
Logsdail, Frank Bramley, Fred Hall^ Walter Langley, 
W. J, Wainwright, Jelley, Edwin Harris, Skipworth, 
Breakspeare, etc. He is a member oi the Birmingham 
Royal Society of Artists, and a frequent exhibitor at the 
Royal Academy and elsewhere. 

THE BIRMINGHAM REFERENCE LIBRARY (DESTROYED 
BY FIRE IN JANUARY, 1879). 
Od canvas, i ft. 9 in. high by 3 ft. i in. wide. Painted in t68t. 

Presented by the Right Hon. William Kenrick, P.C. 




TURNER (J. M. W.), R.A. 

Joseph Mallord William Turner, R.A., was born on the 
23rd of April, 1775, in Maiden Lane, Covent Garden, 
where his father carried on the business of a hairdresser. 
The friendship of Girtin, the water-colour painter, and the 
privilege of copying a collection of drawings in the 
possession of Dr. Munro, of the Adelphi, gave facilities 
^^or the development of the young painter's talent at an 



I 



early age. Turner entered as a student of the Royal 
Academy in 1789, and he exhibited a drawing of Lambeth 
Palace in the following year; in 1799 he was elected an 
Associate, and in April, 1802, he became a Member of the 
Academy, In this year he visited France and Switzerland, 
In 1807 he was elected Professor of Perspective in the 
Royal Academy. In 1807 also he began to publish his 
Liber Siudiorum^ or book of sketches in imitation of 
Claude's Liber VeHtatis ; and for a few years during this 
period of his life he painted in emulation of the style of 
Claude* In 1812 he built a house in Queen Anne Street 
West, No, 47, which he retained until his death, and in 
which he had a gallery where he for many years exhibited 
some of his pictures. Turner visited Italy three times ; — A 
in 1819, in 1829, and about 1840. Of the present school of 
water-colour painters he may well claim to be one of the 
principal founders; and his landscapes, both in w*ater and 
oil, rank him as one of the greatest masters of his art, both 
for fertility of invention and for the truthful realisation of 
air and light. He died at Chelsea, December 19th, 1851, 
unmarried, and under an assumed name in an obscun 
lodging, and was buried by the side of Sir Joshua Reynold 
in St. Paul's Cathedral ; bequeathing to the nation the 
numerous works that remained in his own possession, and 
his funded property for the benefit of his less fortunate 
brothers in art. His will, however, was set aside from some 
legal informality, and this latter intention was not carrieds 
out in conformity with his wishes. Turner's career com-V 
prehends, independently of his imitations of Claude, three 
distinct styles, in the first of which, previously to 1802, he 
was more remarkable as a water-colour painter. His early 
drawings are conspicuous for their careful completion, 
subdued colour, and effective light and shade ; his earlies^ 
oil pictures resemble those of Wilson in style- In middl^B 
life, from about 1802 until about 1830, the date of his 
second visit to Rome, he was distinguished for a masterly 
and vigorous execution and an unrivalled brilliancy of 
colouring ; the majority of his greatest works belong to 
this time, from his *' Calais Pier," 1803, to the "Ulysses 
148 




deriding Polyphemus," 1829. During the last twent)' 

» years of his life, light, with all its prismatic v^arieties, seems 
to have chiefly engrossed his attention, yet some few of his 
finest works belong to this period^ as his '* Childe Harold s 
Pilgrimage," exhibited in 1832, and the ** Temeraire/' 
exhibited in 1839, 

308. THE FALLS OF SCHAFFHAUSEN, ON THE RHINE. L 

Water-colour drawini^^ 12 in. faig^h by 17I rn. wide. Purchased from the Collection of 

■ John Ruskin. 

This drawing belongs to Turners best period. It has been engraved as 
a whole in the " Keepsake, * and parts of it, etched by Ruskin himself, are 
reproduced as illustrations in the second chapter of voL v. of M^drm 
Painters, In describing this drawings Ruskin proceeds: — 

" Next to this piece of quietness (* The Loire Side ') let us glance at a 
composition in which the motive is one of tumult : that of the Fall of Schaff- 
hausen. It is engraved in the Ke^fsaJke. I have etched in plate 74 al the 
top, the chief lines of its composition, in which the tir&t great purpose is 
to give swing enough to the water. The line of fall is straight and monoton- 
ous in reality. Turner wants to get the great concave sweep and rush of 
the river well felt, in spite of the unbroken fall. The column of spray, rocks, 
mills, and bank all radiate like a plume, sweeping round together in grand 
curves to the left, where the group of figures hurried about the ferry-boat rises 
like a dash of spray, they also radiating so as to form one perfectly connected 
cluster with the two gendarmes and the millstones^ the millstones at the 
bottom being the root of it, the two soldiers laid right and left to sustain the 
branch of figures beyond, balanced just as a tree bough would be. One of 
the gendarmes is flirting with a yoimg lady in round cap and full sleeves, 
under pretence of wanting her to show him what she has in her band-box ; 
the motive of which flirtation is» so far as Turner is concerned in it, primarily 
the bandbox. This and the millstone below give him a series of concave 
lines, which, concentrated by the recumbent soldiers* intensify the hollow 
sweep of the fall, precisely as the ring on the stones does the Loire eddies. 

I These curves are carried out on the right by a small plate of eggs laid to be 
washed at the spring ; and, all these concave lines being a little too quiet and 
recumbent, the staggering casks are set on the left, and the ill-balanced milk 
pail on the right, to give a general feeling of things being rolled over and 
aver. The things which are to give this sense of rolling are dark, in order to 
hint at the way in which the cataract rolls boulders of rock ; while the forms 
which are to give the sense of its sweeping force are white. The little spring, 
^.splashing out of its pine trough, is to give contrast of the power of the fall, 
Hjwhile it carries out the general sense of splashing water. The spring exists 
^^on the spot, and so does everything else in the picture ; but the comhinarions 
are wholly arbitrary, it being Turners fixed principle to collect out of any 
scene whatever was characteristic and put it together just as he liked. The 
L changes made in this instance are highly curious. 

" The mills have no resemblance whatever to the real group as seen from 

149 




this spot, for there is a forroal and vulgar dwelling house in front of 
but if you climb the rock behind, then you hnd they form on that sii 
towering cluster, which Turner has put with little modification into the 
drawing. What he has done to the mills, he has done with still greater 
audacity to the central rock- Seen from this spot it shows in reality its greatest 
breadth, and is heavy and uninteresting, but on the Lauffen side exposes its 
consumed base^ worn away by the rush of water, which Turner, resolving 
to show, serenely draws the rock as it appears from the other 
side of the Rhine, and brings that view of it over to this 
side. I have etched the bit with the rock a little larger below, 
and if the reader knows the spot, he wnll see that this piece 
of the drawing, reversed in the etching, is almost a bona-fide un- 
reversed study of the fall from the Lauffen side. Finally, the castle of 
Lauffen itself being, when seen from this spot, too much foreshortened to 
show its extent, Turner walks a quarter of a mile lower down the river, draws 
the castle accurately, then brings it back with him, and puts 
it with all its extent where he chooses to have it beyond the 
rocks. I tried to copy and engrave this piece of the drawing 
of its real size, merely to show the forms of the trees drifted 
back by the breeze from the fall and wet with its spray, but in 
the endeavour to facsimile the touches, a great part of their grace and ease 
has been lost; still, plate 75 may, if compared with the same piece in the 
Keepsake engraving, at least show that the original drawing has not yet been 
rendered with completeness. These two examples—* The Falls of Schaff- 
hausen ^ and * The Loire Side ' — ^may sufficiently serve to show^ the mode 
in which minor details, both in form and spirit, are used by Turner to aid 
his main motives." 

A drawing so elaborately described by Kuskin may well be supposed to 
be one of special interest and importance ; it was one which he always esti 
mated at a high artistic value. 

509. SALISBURY CATHEDRAL. 

WatcrcoJour drawing^, 1 ft. 8 in. high by 2 ft. ij in. wide. From the CoUection of 
Mr. F. Fish, 18^. Purchased from Sir John Pender*s CoUection, 1897. 

Presented by the Trustees of the PtMic Picture Gallery Fund. 

The foundation of Salisbury Cathedral was laid by Bishop Poore, on 
April 28th^ 1220, and in five years time the work was so advanced that 
three altars were consecrated. His successors carried on the building with 
such zeal that the edifice was consecrated in 1258 by the Archbishop of 
Canterbur^^ in the presence of King Henry IIL and his queen. The spine 
was erected in the time of Bishop Robert de Wyvil (1330-75). With the 
exception of St. Hugh's Choir at Lincoln (begun in 1192), this was the 
first great Church built in England in what was then the new or pointed 
manner, now called Early English, of which it still remains, as a Whole, 
one of the finest and most complete examples. There is scarcely any tract; 
of French or foreign influence in it ; instead, the chief features of it are the 
result of native elaboration during the previous century and a half. The spire, 
rising 400 feet above the level of the pavement, is the loftiest in England 

<5o 



I 
I 
I 

I 



UNKNOWN ARTIST (Probably German), 



310. CORONATION OF THE VIRGIN. 

TnDpera painting on paoeU with raised g^old decdratian, 

k3 fu 2 in. wide. 



5 ft, 5 in high by 



W, Scait 



Part of an Altar Piece, German (?), about 1450. 



WAINWRIGHT (W. J.), A.R.W.S. 

William John Wainwright was born in Birmingham, 

1855, and was educated at Sedgley Park College, near 

Wolverhampton, where he received drawing lessons from 

the late Mr. George Mackey, a well-known Birmingham 

drawing master of the old school. At the age of sixteen he 

was apprenticed to the firm of John Hardman and Co., 

working under Mr. John Powell and Mr. G* B, Maycock, 

^ and also studied In the School of Art, under Mr. E. R. 

P Taylor- He remained with this firm about eight years, 

gaining a thorough training in designing church furniture 

^ and works of ecclesiastical art. In 1879 he entered the 

P Antwerp Academy, working under Charles Verlat, and 

receiving much help from Isabey, the French watercolour 

artist. He was elected an Associate of the Birmingham 

Society of Artists in 1881, while still a resident in Antwerp, 

and a full Member in 1884* In 1881 he continued his 

studies in Paris. He was elected an Associate of the Royal 

Society of Painters in Water-Colours in 1883. He left Paris 

in 1884 and removed to London, and later on went to 

Newlyn, but finally settled in Birmingham in 1886. He 

was one of the principal founders of the Birmingham Art 

B Circle. An exhibition of about eighty of his pictures and 

■ studies was held in 1890 at the Birmingham and Midland 

Institute ; and a second and more important one at the 

Royal Society of Artists in 1902. 

311. FREDERICK HENRY HENSHAW, 

tVater-colourdrawing^f 2 ft. 5} in, high by 1 ft. 9^ in. wide. 
Presented by tht Artist, 
nr of Henshaw, see page 77* 
1 



i«. THE PARABLE OF THE FIVE WISE AND FIVE FOOLISH 

VIRGINS. 
On canvas^ 5 ft. j in« hi^h by 4 ft. 7 in. wide. Sr« lUusimtion. 

The artist gives the following description of his treatment of the sub- 
ject : — " The moment chosen is that when the Bridegroom comes, to find 
that of those who were awaiting Hira, some have their lamp» tiimmed and 
burning, whilst others, disregarding what He required of them, have 
neglected to keep their lamps alight. Departing from the traditional treat- 
ment which usually presents the Bridegroom with the wise Virgins grouped 
on the one hand^ and the foolish on the other, in this picture the Bride- 
groom is supposed to be advancing from the point of view of the spectator 
cowards the picture. 

" This treatment has been chosen both for pictorial considerations and 
to suggest the utmost latitude of interpretation of the parable ; it being 
intended that while conforming to the scriptural iext and the coounentatots, 
yet e%er)' beholder may also apply the moral of the parable to the conduct 
of every-day life, as to the use and misuse of opportunity. 

" The m«iment of the Bridegroom s coming causes surprise even to these 
who have awaited Him in preparedness. Thus in the faces of the flguies 
composing the lower group, representing the wise virgins, the expression 
of surprise is evident ; whilst in the upper group, representing the foolish 
virgins, alarm at the coming of the Bridegroom is accompanied with vaiy- 
ing expressions indicative of their unfortunate position. 

" Consistently with the idea that the parable is for all time, and for aUl 
persons, no attempt has been made to sug^jest historical period or local 
character^ either in the personalities or habiliments of the figures. They 
may be regarded as types of humanity, each with such attitude and expres- 
sion as is called forth by the circumstances of being brought to the know- 
ledge of the fart that the time of opportunity has passed, and the day of 
reckoning has suddenly burst upon them. Similarly in the style and compo- 
sition of the picture the endeavour has been to work harmoniously with 
the spirit of the parable, avoiding the extremes either of realism or conven- 
. tionality," 

WALKER (Frederick), A.R.A. 

Frederick Walker, whose father was a designer of artistic 
jewellery, was born in London, on the 24th of May, 1840, 
and received his education at the North London Collegiate 
School in Camden Town, where even as a boy he seems to 
have shown considerable ability in drawing. At the age of] 
sixteen he entered the office of an architect, probably with a 
view of qualifying himself for that profession, but he did 
not stay there long, and after a while he joined Mr. Leigh's 
art classes in Newman Street. In 1858 he was admitted a 
student of the Royal Academy, and before long had attained 




312. THE FIVE WISE AND FIVE FOOLISH VIRGINS. 

WILLIAM J* WA1X WRIGHT, A^R.W.S. 




sufficient skill to be employed as a draughtsman for wood 
engraving". In this capacity he passed two years in the 
atelier of Mr. J* W- Whymper, receiving at the same time 
commissions on his own account for the illustration of 
various periodic* Is, viz., Once a IVeek^ Good Words ^ and the 
Comhiil Magazine. In the latter journal Thackeray was 
then writing his novel Philips and attracted by the skill of 
Walker's drawings, engaged the services of the youthful 
artist to supply illustrations for the story — based at first ox\ 
rough sketches made by his own hand — but subsequently 
designed and executed entirely by Walker. In 1864, Walker 
was elected an Associate of the Society of Painters in 
Water-Colours, but he had already begun to paint in oil, 
and exhibited at the Royal Academy (in 1863) his first 
picture^ "The Lost Path,'' representing a poor woman with 
an infant in her arms wandering in the snow* In 1867 
his well-known and admirable picture of ** The Bathers ' 
attracted much attention. This was followed in 1868 by 
I** The Vagrants/' a work which is now in the National 
[Gallery of British Art. During the four following years he 
Exhibited ^^The Old Gate/^ 1869; 'H he Plough,- 1870; *^ At 
the Bar/^ 187 1 ; and ** The Harbour of Refuge/' 1872. He 
was also a frequent contributor to the exhibitions held by 
the Society of Painters in Water-Colours, where in 1866 he 
was admitted to the rank of full membership. In 187 1 he 
was elected an A.R*A. The career of this original and 
'gifted artist was unfortunately destined to be a short one. 
It is probable that he inherited a tendency to consumption 
from his father, who had died young, and in 1873 the state 
of his health was such as to render it advisable f^r him to 
pass the winter in a warm climate. He travelled to Algiers 
in December, but returning to England in an unusually cold 
spring, found but little benefit from the change, and his last 
exhibited picture, *' The Right of Way," showed indications 
of failing health and power. He went to Scotland in the 
hope of recruiting himself, but gradually became weaker, 
and died at St. Fillans, in Perthshire, on the 5th June, 1875. 
Throughout the whole of his career the influence of Greek 
, art was a real and permanent force in the direction of his 

153 



talent, and he saw the possibility of conibining the gfrace of 
the antique with the realism of modern everyday life. 

313. THE OLD GATE. 

On canvas, 3 ft. high by 3 it, 4 in, wide. 
Pristnied hy the Trustees of the Public Picture Gallery Fund. 

This is the original study in oils made by Frederick Walker, for his 
famous picture ** The Old Gate.*' This unfinished picture closely follows 
the lines of that beautiful work, but the figures, with the exception of the two at 
the top of the steps, are differently posed. The young labourer on the right, 
with the dog, is missing entirely. This preLiminar)- study is carried unusually 
far, more particularly in the upper part of the canvas. 



WALTON (Elijah). 

Elijah Walton was born in Birming-ham, on November' 
22nd, 1832. He received his early lessons in art at the 
Birmingham School of Design. He exhibited at the Royal 
Academy at the age of fifteen, and sold his work. He 
studied afterwards in London, in the Royal Academy 
Schools, and at eighteen had completed his studies in the 
Life School. The works he will best be remembered by 
are the pictures of the Alps, He made journeys to the 
Holy Land, Egypt, the Alps, Norway^ the shores of the 
Mediterranean, the English Lakes, and the Isle of Wight, 
and elsewhere. He held a series of annual exhibitions of 
his works in London. He produced, from drawings and 
paintings made by himself, a number of illustrated works, 
including ** The Camel : its Anatomy, Proportions, and 
Paces," 1865 ; ** Peaks and Valleys of the Alps,'' 1867 ; 
"Clouds ; their Forms and Combinations,' 1869 ; *' Flowers 
from the Upper Alps/' i869. He spent much of his time 
abroad, but, after his second marriage in 1867, he lived for 
a time at Staines, but ultimately settled near Bromsgrove, 
where he died in 1880. He was a Fellow of the Geological 
Society. 

314. MONTE TOFANA IN TYROL. 

On canvas, 5 ft. it in. bi^h by 4 fl. 6 in. wide, 

Presented by the Artiste 
»54 



WALTON (Frank), R.I. 

Frank Walton was born in London, July loth, 1840, 
being the son of Mr. James Walton, publisher. He entered 
the Royal Academy Schools in i860, and obtained the 
Turner Landscape Gold Medal while there. He was 
elected a Member of the Royal Institute of Painters in 
Water-Colours in 1882, and is President of the Institute of 
Painters in Oil-Colours* 



315- OF 



NTLE AUTUMN. 

On canvas^ 4 ft. high hy 4 ft« 7 in* wide. 

Bequeathed fy Mr, Jouph Beaitie, 



WATTS (G. F.), R.A. 

George Frederick Watts was born in London in 1817, 
and first exhibited at the Royal Academy in 1837. At 
Westminster Hall, in 1843, his cartoon of *' Caractacus led 
in Triumph through the Streets of Rome '' obtained one of 
the three highest prizes of ^^300, and created sanguine 
hopes for his future career. Having spent three years in 
Italy, he again obtained in 1874 the highest honours at the 
competition in Westminster Hall^ securing with his two 
colossal oil pictures, ''Echo/* and '^Alfred inciting the 
Saxons to prevent the Landing of the Danes/^ one of the 
three highest prizes of ^£^500. These pictures were pur- 
chased by the Commissioners, and the latter is in one of the 
Committee Rooms of the House oi Parliament Mr. Watts 
also executed one of the frescoes in the Poet*s Hall of the 
same building; For many years he was a frequent 
exhibitor at the Royal Academy and other exhibitions. 
His principal productions have been portraits and ideal 
and mythological subjects, such as the well-known "Love 
and Death/' *^ Fata Morgana," **Endymion," "Orpheus 
and Eurydice," '* Hope/' etc., etc. Mr. Watts has also 
painted a large number of portraits of his contem- 
poraries in public life, literature, and art. In 1882 an 
important exhibition of Mr. Watts' works was held at the 



Grosvenor Gallery, and later on at Liverpool and after- 
wards at the Metropolitan Museum, New York, when the 
exhibition created a great sensation. In 1885-86 a very 
large — probably the largest and most important — exhibition 
of his works was held in these Galleries on the occasion of 
the opening of the building by H.R. H. the Prince of Wales* 
He was elected an Associate of the Royal Academy in 1867, 
and a full Member in the following year, retiring in 1896* 
He was a D.CL*, LL.D., and a Member of the Order of 
Merit. As a sculptor, too, he attained high distinction, and 
among his best work in this field may be mentioned the 
marble bust of *' Clytie/' the equestrian statue of Hugh 
Lupus, executed for the Duke of Westminster, a funerary 
monument to the Marquis of Lothian, and the great 
equestrian statue, ** Physical Energy/' exhibited in the 
courtyard of the Royal Academy in 1904, In June of that 
year he was seized with an attack of bronchitis, which ended 
fatally on July ist, and he passed away at the ripe age of 
eighty-seven. 

316, A ROMAN LADY. 

On canvas^ 2 ft. i r^ in. hig-h by 2 ft. 3| in. wide. See lUustratiQn. 

Preunkd by (h^ Trustees of tfu PMk Picture Gclhrx Fund. 



WESTALL (William), A.R.A. 

(Six drawings by IVilluim Westall ( Ij8i-l8$o)^forftiing part €f the 
" Graphic Illustrations of Warwickshire/* a permanent Loan frmn the 
Council of the Midland Institute, are exhibited: see special catalogue 
of " Old Birmingham and Warwickshire Drawings " price One Penny,) 




I No. 11 6. 



A ROMAN LADV, 

G, K WATTS, R,\» 



S 



SCULPTURE. 



SCULPTURE. 

ENTRANCE HALL. 



THOMAS (John). 

John Thomas was of Welsh descent, and was born in 
1813, at Chalford, Gloucestershire. In 1825 he was appren- 
ticed to a mason, and later assisted his brother William, a 
Birmingham architect. A monument of his, at Hunting- 
don, attracted the attention of Sir Charles Barry, who 
employed him upon the sculptural work of the Bir- 
mingham Grammar School, and afterwards brought him 
to London to undertake part of the decorative sculpture 
of the new Houses of Parliament, where he had control 
of the carvers and masons ; and from that time he 
was chiefly engaged in works of this class. From 1838 
to 1862 he was a constant exhibitor at the Academy, his 
contributions being chiefly busts. He executed the alle- 
gorical bas-reliefs of London, Liverpool, Manchester, and 
other cities at Euston Railway Station, and the colossal 
lions on the Britannia Tubular Bridge across the Menai 
Straits. His only notable achievements of a more fanciful 
kind were *' Musidora," '^ Lady Godiva," '* Una and the 
Lion," and the group exhibited here. Among the un- 
finished works in his studio at the time of his death was a 
statue of Joseph Sturge. He suffered from overwork and 
anxiety, and died in London, April 9th, 1862, aged 49. 

QUEEN BOADICEA AND HER DAUGHTERS. 

Bronze Group, modelled by Thomas, from the marble group in the possession of 
Sir S. Morton Peto, Bart., and cast by Messrs. Elkington, Mason, 8l Co.. in 1855. 

Presented by Messrs, Elkington and Co, 

159 



Boadicea lived in the middle of the ^st century, and was the wife of 

Prasutagus, the king of the Iceni. Xero was emperor at the time of Pras^ 
tagus's death, and Suetonius Paulinus commanded in Britain. While Suet- 
onius was occupied in attacking the Isle of .\nglesey, Boadicea was scourged, 
and her daughters ill treated by orders of the Roman procurator, Catus, 
for some cause not recorded. The crime, however, brought its punishment. 
The Iceni and their neighbours flew to arms. Before the struggle com- 
menced a chariot was seen drawn slowly through their ranks ; in it wa« 
a woman of tall stature and dignified bearing, enveloped in the folds of a 
long mantle, a chain of gold round her waist, and her long hair floating 
to the ground. It was the outraged Boadicea* who, accompanied by her 
daughters, appealed to the courage of her countrymen. They first attacked 
and destroyed the Roman Colony of Colchester, and defeated a Roman 
legion which was coming to the relief of the place, under the command of 
Petiilius Cerealis. The insurgents also massacred the Romans at St. Albans 
and at London, which was even then famous for its commerce. Tacitus 
says that the Romans and their allies were destroyed to the number of 
70,000. 



I 



THOMAS (John Evan), 

John Thomas was born at Brecon in 1809, and went to 
London as a young man, where he studied under Sir 
Francis Chantrey. He was a frequent exhibitor at the 
Royal Academy between 1835 and 1857, his chief con- 
tributions being busts, at which he mainly laboured for 
many years. Later in life he executed several statues in 
marble and bronze, including a colossal figure of the 
Marquis of Bute at CardiflF, and others of the Duke of 
Wellington at Brecon, Prince Albert at Tenby, and the 
Prince of Wales at Ashford. About 1857 he returned to 
Brecknockshire, where he filled the office of sheriff. He 
was a Fellow of the Society of Antiquaries* He died in 
London, October 9th, 1873, 

THE DEATH OF TEWDRIC, KING OF GWENT AND GLAMOR- 
GAN. 

Bronze Groupi modelled by Thomas, and cast by Messrs. Elkington At Co. 

Presented by the Representatives of Miss Eli'Labeth Phipsofu 

" Tewdric, the great king of Gwent and Glamorgan, having embraced 
Christianity, conquers the Saxons at Tintem Abbey on the Wye. The 
Welsh King, wounded » urges the pursuit of the flying Saxons, attended by 
his daughter, and an aged Bard proclaims the victory.^* 

160 



HOLLINS (Peter). 

For memoir of the sculptor, see page 128. 

FELIX MENDELSSOHNBARTHOLDY. 

Marble Bust. 

Presented by the Estates Committee. 

Felix Mendelssohn-Bartholdy, the famous German musical composer, 
was bom February 3rd, 1809. He studied in Berlin, and came to London in 
1829. In 1 84 1, Frederick William IV., King of Prussia, made him master 
of his chapel. His oratorio of " St. Paul '' was performed in Birmingham 
in 1837, lus "Song of Praise" in 1840, and "Elijah" in 1846. He died 
on November 4th, 1847. 

•■ . •-• .> 

VESTIBULE. 
FORD (E. Onslow), R.A. 

E. Onslow Ford was born in London, July 27th, 1852, 
and as a boy had a great desire to become an artist. In 

1870 he went to Antwerp, and entered the Schools there, 
finally studying in the Antique School under Buffeau. In 

187 1 he went to the Academy at Munich, still studying 
painting, but shortly before leaving he gave up this branch 
of art and took to sculpture. In 1874 he returned to 
England. He exhibited his first bust in the Royal 
Academy in 1875. His earliest work that attracted 
general attention was the seated statue of Sir Henry 
Irving as Hamlet. He exhibited many well - known 
statues and busts at the Royal Academy and elsewhere. 
One of his most celebrated works is the Shelley Memorial 
in University College, Oxford. He was elected an 
Associate of the Royal Academy in 1888, and a full 
Member in 1895. He died in 1901. 

DR. R. W. DALE. 

Marble Statue 

Fresented by the Subscribers. 

Robert William Dale, M.A., D.D.v was bom in London, on December 
ist, 1829, and was educated at Spring Hill College, Birmingham. He 

161 



took his degree of M.A. at the London University in 1853. In that year 
he began his ministry at Carrs Lane Congregational Chapel, as co-pastor 
to the late John Angell James, on whose death he succeeded to the full 
chaige of the church. He was chairman of the Congregational Union of 
England and Wales, 1868-69. For seven years he edited The Congregatiim- 
alist, and published many papers and volumes of lectures and sermons. In 
1877 he visited America, and delivered a series of lectures on preaching 
at Yale University, being the first Englishman appointed to the Lyman 
Beecher Lectureship. In the same year he received the degree of D.D. 
from Yale. Later in life he visited the Australian Colonies. In 1883 he 
received from Glasgow the degree of LL.D. He took an active part in 
various Noncomfonnist controversies, and Liberal and political movements. 
He was vice-chairman of the Birmingham School Board, and a Governor 
of King Edward's School. In 1886 he was appointed a member of the 
Royal Commission on the Elementary Education Acts. In 1891 he was 
elected President of the International Council of Congregationalists, which 
met in London, consisting of representatives from all parts of the world. 
During his life Dr. Dale was one of the most prominent citizens of Bir- 
mingham, taking a foremost place in many movements, political, educa- 
tional, and socisd, which had as their object the good of the people and of 
the city. He died in 1895. 



VENUS AFTER THE BATH. 

Marble statue. A copy of the marble statue in the Vatican, Rome. 

Presented by the Children of Mr, W. Gibson. 

The original was executed by Daedalus of Sicyon, a sculptor of the school 
of Polycleitus, and according to Pliny, at one time stood in the Portico of 
Octavia, at Rome. 

WEIGALL (Henry). 

Henry Weigall was a virell-knovirn sculptor who, in the 
earlier part of his life, worked as a gem cutter and engraver, 
but afterwards devoted himself to larger sculpture. Between 
the years 1832 and 1855 he exhibited twenty-three works in 
London, including seventeen at the Royal Academy. He 
was one of the victims of the failure of the Royal British 
Bank in 1856, and emigrated to Australia. There he 
abandoned art, and devoted himself to other pursuits, acting 
as a justice of the peace for the last twenty years of his 
life. He died about 1886. 

THE DUKE OF WELLINGTON. 

Bronze Bust. 
Presented by Messrs, Elkington and Co, 
162 



Arthur Wellesley, first Duke of Wellington, Field-Marshal and States- 
man, was bom in 1769, and entered the Army in 1787. His first active 
service was in May, 1794, when, in command of the 33rd Regiment, he 
joined the British Army in the Netherlands. In 1796 he went as Colonel 
with his regiment to India, and took part in the siege of Seringapatam, 
and was appointed Governor of Mysore. In 1802 he was raised to the rank 
of Major-General, and routed the Mahrattas at Argaiun. In 1808 he was 
promoted to the rank of Lieutenant-General, and put in command of the 
force for the Peninsular War, defeating De Laborde at Rolica, and the 
French at Vimiera. In 1809 he returned to Spain as Commander-in-Chief , 
and after man^ successes captured Ciudad Rodrigo, for which he was made 
Earl of Wellmgton. He afterwards captured Badajoz, won the battle of 
Salamanca, and was raised to the rank of a Marquis by Parliament, who 
voted him a smn of ;£i 00,000. After the battle of Toulouse, in 18 14, he 
was made a Duke. On June i8th, 181 5, he gained his crowning victory 
at Waterloo, which changed the destinies of Europe. He died in 1852, from 
an attack of apoplexy. 



HOLLINS (Peter). 

For memoir of Peter Hollins, see page 128. 

WILLIAM SCHOLEFIELD. 

Marble Bust 

Presented by Mr. Thomas Avery, 

Wiliam Scholefield (1809- 1867), first Mayor of Birmingham, was the 
second son of Joshua Scholefield, banker and merchant, of Birmingham. 
He entered his father's business. In 1837 he was elected High Bailiff of 
the town, and Mayor in 1838, on the grant of a Charter of Incorporation. 
He was an imsuccessful candidate for Birmingham on his fatheiPs death 
in 1844, but was chosen at the Dissolution of 1847, and continued to repre- 
sent the constituency until his death. He was a constant advocate of 
religious equality, and contended with great pertinacity against Lord John 
Russell's Ecclesiastical Tithes Bill. He played a prominent part in the 
repeal of the Paper Duties, and was the originator of the Parliamentary 
Committee on the Adulteration of Food, which sat for two Sessions under his 
chairmanship. 

MONTI (Raphael). 

Raphael Monti, Italian sculptor, was born in Milan in 
1 8 18, and studied sculpture under his father, Gaetano 
Monti, and at an early age won the gold medal of the 
Imperial Gallery of Milan for his group of ^* Alexander 

163 



Taming Bucephalus." Between 1838-42 he resided in 
Vienna, and in 1847 came to England, where his " Veiled 
Statue," executed for the Duke of Devonshire, produced a 
populsiv /urore. The device of showing the features through 
a simulated veil took the public fancy greatly, and set a 
little fashion in statuary — a clever though facile effect in 
no sense belonging to true art. Returning to Milan, he 
gave his adherence to the popular party, and in 1848, as 
one of the chief of the National Guard, was sent on a 
mission to the camp of Charles Albert. The war over, he 
returned to England. A number of his works were exhibited 
in the 1851 Exhibition. He died in London, October 
23rd, 1 88 1, aged 63. 

VENUS DE' MEDICI. 

Marble Statue. 

Bequeathed by Mr. £. D. Wilmot 

A copy of the original in the Uffizi Gallery, Florence, which was found 
in the i6th century in the Villa of Hadrian, near Tlvoli, and brought to 
Florence in 1680. It bears on its face the name of Cleomenes, son of 
Apollodonis of Athens, and is supposed to be an original woik of the late 
Attic School, but the inscription and the affectedly held fingers are modem. 

MUNRO (Alexander). 

Alexander Munro was born in 1825, in Inverness, where 
he soon made himself known by his abilities. In 1848 he 
was employed upon the stone carving of the Houses of 
Parliament. He first exhibited at the Academy in 1849, 
and continued to do so for many years. He executed the 
statue of James Watt which stands in RatclifF Place, 
Birmingham. He died at Cannes, 187 1. 

SLEEPING CHILD. 

Original Plaster Model. 

Presented by Mrs, Aitken. 

JONES (John E.). 

John E. Jones was born in Dublin, in 1806. He studied 
in that city as an engineer, but having a taste for sculpture, 
164 



he went to London to study for that profession, and 
practised there. He first exhibited at the Academy in 
1844, his contributions in that year being busts of Daniel 
OXonnell and other eminent Irishmen, He received great 
encouragement, and had many eminent sitters — the Queen, 
the Prince Consort, Lord Brougham, the Emperor of the 
French, the Duke of Cambridge, the Duke of Wellington, 
Louis Philippe, the King of Holland, and others. He died 
in Dublin, July, 1862. His art was confined to busts, and 
was well esteemed. 



SIR ROBERT PEEL. 



Bronze BusU 
Presented by Messrs, Elkington and Co. 



The Right Honourable Sir Robert Peel was the eldest son of Sir Robert 
Peel, a great cotton printer and manufacturer, and was bom near Buiy, 
Lancashire, in 1788. He was educated at Harrow and Christ Church, 
Oxford, where, in 1808, he graduated with the then unprecedented honours 
of a double-first. In the following year he was returned to Parliament for 
the close borough of Cashel, and attached himself to the Tory party* In 
1811 he was appointed Under-Secretary for the Colonies, and in 181 2 Chief 
Secretary for Ireland. From 1818 to 1822 he bad no official connections 
with the ministry, but took a leading part in the pressing currency questions 
of the day, and thus founded his fame as a tinancier. When George IV. 
came to the throne he retained the Liverpool ministry, and Peel became 
Home Secretary. In 1829 he brought forward the Catholic Relief Bill. 
The first general election after the passing of the Reform Bill left him with 
a following of barely one hundred members, which soon swelled into a 
formidable party. He frankly accepted the Reform Bill and set himself 
to oi^anise a party distinct from either Tory or Whig, which he named 
Conservative, PeeFs first ministry (1834-35), only lasted f\:s^ months. In 
1842 he proposed his famous Sliding Scale with regard to foreign grain. 
In 1846 be brought in a bill by which, at the end of three years, the Cora 

H Laws were to be utterly repealed. He was thrown from his horse on July 

B 2nd, 1850, and died of the injuries he had received. 

^^ FOLEY (John Henry), R.A. 

John Henry Foleyj R.A., was born in Dublin in i8i8» 
and at the age of thirteen entered the Art Schools of the 
Royal Dublin Society, In 1834 he went to London, and 
was admitted a pupil of the Royal Academy. In 1839 he 
began to exhibit, and, ten years later, was elected an 

165 




Associate. He was made a full member of the Academy in 
1859- His last great work was the group of ** Asia" for 
the Albert Memorial. He did not live, however, to see the 
completion of his figure of the Prince Consort for that 
monument* He died in 1874. 

OUVER GOLDSMITH. 

Orig^inaJ Piaster Model of th« Statue in Dublin* 

Presented by Messrs, Eikington and Co, 

Oliver Goldsmith, the celebrated Irish poet and novelist, was bom in 
1728, and studied at Trinity College, Dublin, 1745-52, and afterwards studied 
medicine for a short time at Edinburgh^ going to Leyden in 1753. ^^ 
next travelled through Europe on foot, returning penniless to England, when 
he became corrector of the press for Richardson. He subsisted by his pen, 
working for the Monthly and Critical Reviews, and becoming known to 
Smollett, Dr. Johnson, and other literary men. His most famous work, 
The Vicar of Wakefield, was sold for fifty guineas in 1 764. His best known 
ptay, 5/itf Stoops to C&nqucr^ was first acted in 1773. 




own ^H 



TOFT (Albert). 

Albert Toft was born in Birmingham in 1862. After 
leaving school he was apprenticed to the firm of Josiah 
Wedgwood & Sons, at Etruria, as a modeller for pottery. 
During the evenings he studied in the Schools of Art at 
Hanley and Newcastle-under-Lyme, and when seventeen 
gained a National Scholarship. He spent the next three 
years at the Royal College of Art, under Professor Lanteri. 
Since 1885 he has been a regular exhibitor at the Royal 
Academy. Among his more important works are a statue ' 
of Queen Victoria, in Leamington; one, in bronze, of Henry ■ 
Richard, M.P*; and another of the Rajah of Bamra, His 
most famous bust is the one of Mn Gladstone, and he has 
produced a number of symbolical and imaginative subjects 
of great feeling and beauty, 

GEORGE WALLIS, F.S.A, 

Bronze Bust. 
Presented by the Children of Mr. George Wallis. 

George Wallis, F.S.A., was bom at Wolverhampton, j8ii, and educated 
at the Grammar School there. He practised as an artist at Manchester 

166 




from 1832 to 1837, but taking an interest in art educaticm as applied to 
designs for art manufacturers and decoration, he joined the Government 
School of Design at Somerset House in 1841, and became Head Master 
of the Spitalfields School in 1843, and was promoted the same year to the 
Head Mastership of the Manchester School, which position he resigned in 
1846. The Royal Commisssion for the Great Exhibition of 1851 ap- 
pointed Mr. Wallis a Depu^ Commissioner, and he acted in 1850 for several 
manufacturing districts, and the whole of Ireland. During the exhibition he 
was Superintendent of the British Textile Division, and a Deputy 
Commissioner of Juries. After the Exhibition he accepted the Head 
Mastership of the Birmingham School of Design, from which he retired 
in 1858 to join the South Kensington Museum. Whilst still in Birmingham, 
in 1853, he was one of the six Commissioners appointed by the Government 
to visit the United States, and reported on art and manufactures. During 
the great International Exhibition of 1862 he acted in the same capacity 
as in 1 85 1. In 1863 he was appointed Senior Keeper of the Art Collec- 
tions of South Kensington Museum, a position he resigned in 1891, dying 
very shortly afterwards. Few persons have done more for art in England 
than he; and the present system of the circulation of works of art to 
provincial schools and museums owes much to his energy and foresight. 

JOY (Albert Bruce), R.H.A. 

Albert Bruce Joy, son of Dr. W. Bruce Joy, and brother 
of the artist, Mr. George W. Joy, was born in Dublin, 
August 2ist, 1842. He was educated at King's College, 
London, and afterwards studied at South Kensington and 
in the Royal Academy Schools. He was a pupil of Foley, 
and spent three years in Rome, and has twice visited 
America. He has been a constant exhibitor at the Royal 
Academy since 1866, and has won a number of medals and 
awards at various continental and international exhibitions. 
He has produced many colossal statues, such as those 
of John Bright in Manchester and Birmingham, Lord 
Frederick Cavendish, Gladstone, Harvey, Bishop Berkeley, 
and Alexander Balfour, as well as numerous busts and ideal 
works. He is a member of the Royal Hibernian Academy 
of Arts. 

JOHN BRIGHT. 

Marble Statue. 

Presented by the Subscribers. 

For memoir of John Bright, see page 80. 

167 



FOLEY (John Henry), R.A. 

For memoir of Foley, see page — 165. 
EDMUND BURKE. 

Origfinal Plaster Model of the Statue in Dublin. 

Presented by Messrs, Elkington and Co, 

Edmund Burke, the great statesman, orator, and political writer, was 
bom at Dublin, 1730. Educated at Trinity College. Settled in London, 
1750, and was engaged in literary work. He projected the Annual Register 
and wrote the whole of it for some years ; was private secretary to the Marquis 
of Rockingham, 1765, and the same year entered Parliament, and distin- 
guished himself by his speeches on the great American question, Catholic 
Emancipation, and Reform. In 1772 he was appointed Paymaster of the 
Forces and Privy Councillor. The affairs of India, the prosecution of 
Warren Hastings, and the events of the French Revolution, were the great 
subjects of his attention during the following years. His speeches on the 
opening and conclusion of the Impeachment — the first occupying four, 
and the last nine, days — were among the grandest efforts of his oratory. 
He retired from Parliament in 1794, and died at Beaconsfield in 1797. His 
principal works are the Inquiry into the Origin of our Ideas of the Sublime 
and Beautiful, published in 1756; Reflections on the French Revolution, 1790, 
etc. 

HOLLINS (Peter). 

For memoir of Peter Hollins, see page— 128. 

MATTHEW DAVENPORT HILL, Q.C. 

Marble Bust. 

This bust was executed by the order of the Town Council of Birmingham, 
as a recognition of Mr. HilFs long, able, and distinguished services as 
Recorder of the Borough. 

Matthew Davenport Hill (i 792-1872) was the eldest son of Thomas W. 
Hill, the well-known Birmingham schoolmaster, and brother to Sir Rowland 
Hill. He was called to the bar at Lincoln's Inn in 18 19, and went on the 
Midland Circuit He was one of the members in the Liberal interest for 
Kingston-upon-Hull, from 1832 to 1834. In the latter year he received a 
silken gown, with a patent of precedence. He was appointed Recorder 
of Birmingham and Commissioner in Bankruptcy for the Bristol district; 
the latter office he held until its abolition, in 1869, but resigned the former 
in 1866. He was well known for his exertions in promoting the establishment 
of reformatories for juvenile criminals, and published, in a collected form, 
under the title of Suggestions for the Repression of Crime, a large number 
of charges addressed by him to Grand Juries in his capacity of Recorder 
for Birmingham. He also published various other pamphlets. 

168 



CARDWELL (H.). 

H. Cardwell was a London sculptor who exhibited there 
between the years 1836 and 1856 some ten works, including 
seven at the Royal Academy. 

lONE AND NYDIA. 

Marble Group. 

Presented by Mrs, Lansdowne Beale, 

This represents the well-known incident in " The Last Days of Pompeii," 
by Bulwer Lytton, in which Nydia, the blind slave girl, brings a love letter 
to lone from Glaucus : — ^** One favour, fair lone — ^may I dare to ask it ? 
They tell me," said Nydia, " that thou art beautiful beyond the loveliness 
of earth. Alas! I cannot see that which gladdens the world! Wilt 
thou sufiFer me, then, to pass my hand over thy face? — that is my sole 
criterion of beauty, and I usually guess aright." She did not wait for the 
answer of Icxie, but, as she spoke, gently and slowly passed her hand over 
the bending and half-averted features of the Greek. Her touch lingered 
over the braided hair and polished brow — over the downy and damask 
cheek — over the dimpled lip — ^the swan-like and whitish neck. " I know 
now, that thou art beautiful," she said, " and I can picture thee to my dark- 
ness henceforth and for ever." 



PAPWORTH (Edgar George). 

He was a student of the Royal Academy, and first 
exhibited there in 1832. In the following year he gained 
the Academy Gold Medal for his group '^ Leucothea pre- 
senting the Scarf to Ulysses/' and in 1834 was elected to 
the travelling studentship. In 1836 he sent from Rome to 
the Academy exhibition a head of ^* Psyche.*' Soon after 
he married the daughter of Edward Hodges Baily, R.A., 
the sculptor, in whose studio he was employed. He con- 
tinued to exhibit chiefly busts, statuettes, and sketch designs. 
He died in i860. 

WILLIAM MURDOCK. 

Marble Bust, after Sir Francis L. Chaiitrey, R.A. 

Presented by Mr. G. A. Everitt, 

For memoir of William Murdock, see page 74. 

169 



HOLLINS (Peter). 

For memoir of Peter Hollins, see page 1 28. 

DAVID COX. 

Marble Bust. 

Presented by the Cox Memorial Committee^ 1868. 
For memoir of David Cox, see page 43. 

ROUND GALLERY. 

MERCURY RESTING. 

Bronze Statue. 

A copy of the bronze figure now in the National Museum, Naples. The 
original is supposed to have been executed by Chares, a pupil of Lysippus, 
B.C. 292 — 280, and is looked upon as the finest brcxize of flJl antiquity. It 
was found in 1758, at Herculaneum. 

ITALIAN GALLERY. 
VERROCCHIO (Andrea del). 

Andrea del Verrocchio, son of Domenico di Michele de' 
Cioni, was born in Florence in 1432. He is said to have 
been a pupil of Donatello, and like his contemporaries, the 
PoUajuoli, he kept a goldsmith's shop. Vasari says of him, 
" He was a goldsmith, a master of perspective, a sculptor 
and carver, a painter and a musician. '* He is chiefly cele- 
brated for his works in bronze, such as '* David '' in the 
Uffizi Gallery, Florence, and for the model of the equestrian 
statue of CoUeoni in Venice. He has left but one authentic 
example of his powers as a painter, **The Baptism of 
Christ," in the Florence Academy, in the painting of which 
Vasari says he received the aid of his pupil, Leonardo da 
Vinci. He died at Venice in 1488. 

VIRGIN AND CHILD. 

Panel of unglazed terra-cotta. 

170 



DANTE. 

Bronze Head. Copy of the one in the National Museum, Naples, which was modelled 
from a cast taken from the poet's features after death, by Guilano della Porta. 

Dante Alighieri, the famous Italian poet, author of the " Divina Corn- 
media,'' was born at Florence in 1265. Beatrice, the love of his life, died 
in 1290. In 1300 he married Gemma Donati, belonging to the Neri or 
Black Party, at Florence. He was banished by decree from that city in 
1302, and condemned to be burnt. He resided at Verona for eight years, 
writing his " Paradiso," and afterwards settled in Ravenna. He died 
September 14th, 1321. 



PLATO. 

Bronze Bust. Copy of the one in the National Museum, Naples. 

The orig^inal was found in Herculaneuro, 17599 and is generally considered the finest 
bronze head in Europe. 

Plato was a celebrated philosopher of Athens, son of Ariston and Parec- 
tonia. His original name was Aristocles, and he received that of Plato from 
the largeness of his shoulders. He first began his literary career by writing 
poems and tragedies, but cast this work aside and became the pupil oi 
Socrates for eight years. After the death of his master he travelled through 
Greece, Sicily, and Egypt. After his return he retired to the Groves of 
Academus, near Athens, where his lectures were soon attended by a crowd 
of learned, noble, and illustrious pupils. During forty years he presided 
at the head of this Academy. He died on his birthday in the 8ist year 
of his age, about 348 years before the Christian era. 



TOFT (Albert). 

For memoir of the sculptor, see page — 166. 

SPRING. 

Plaster Statuette. 

WEDGWOOD GALLERY. 



MUNRO (Alexander). 

For taemoii oi the sculptor, see page — 164. 



171 



JAMES WATT. 

Plaster Bust. 

Presented by Mrs. W, C. Aitken. 

This is the original head modelled by Munro for his statue of Watt, which 
was erected in Ratcliff Place, Birmingham, by public subscription, Oct(^>er 
and, 1868. 

For memoir of Watt, see page i. 

JAMES WATT. 

Statuette in clay, modelled by Munro. 

Presented by Mr. R, K. Wake. 



172 



SCULPTURE 
IN THE COUNCIL HOUSE. 



SCULPTURE 
IN THE COUNCIL HOUSE. 



WOOLNER (Thomas), R.A. 

Thomas Woolner was born at Hadleigh, in Suffolk, in 
1826. At the early age of thirteen he entered the studio of 
William Behnes, the painter-sculptor. Whatever merit the 
master possessed, he was far excelled by his pupil. Woolner 
worked hard with him for six years, and while still a mere 
lad, became both a sculptor and an accomplished draughts- 
man. He modelled "Queen Eleanor sucking the poison 
from Prince Edward,'* a work exhibited at the Royal 
Academy in 1843, and made a considerable success with a 
life-size "Death of Boadicea." His earlier exhibited work 
was chiefly imaginative in subject. In 1850 he became one of 
the original seven members of the Pre-Raphaelite Brother- 
hood, and contributed his well-known poem. My Beautiful 
Lady^ and others, to The Germ. In 1852 he went to 
Australia for two years. After his return his work was 
chiefly confined to portraiture, and he was commissioned 
for statues of very many of the most eminent men of his 
time, a list of whose names would be too long to enumerate 
here. His busts of Lord Tennyson, Carlyle, Cardinal 
Newman, Gladstone, Dickens, and Kingsley are well known 
and universally regarded as excellent. His work in Bir- 
mingham includes the medallion of Mr. Joseph Chamberlain 
on the Memorial Fountain, the statue of George Dawson, 
which, under the pressure of criticism, was removed to the 
entrance hall of the Free Libraries, and the statue of the 
Queen in the Council House. He became an Associate of 
the Royal Academy in 187 1, and an Academician in 1874. 

>75 



In i877> on the death of Mr. Henry Weekes, he was appointed 
to the Professorship of Sculpture in the Academy, but he 
resigned it two years later. He devoted much of his leisure 
time to writing poetry. His first volume, My Beautiful 
Lady^ issued in 1863, ran into several editions. He pub- 
lished three other volumes of verse between 1881 and 1887. 
He died rather suddenly in October, 1892, at his house in 
Welbeck Street, London, after an illness of a few weeks. 



HER MAJESTY QUEEN VICTORIA. 

Marble Statue. 

The commission for this statue was originally given by the Queen to Foley, 
who also executed the companion statue of the Prince Consort, exhibit^ 
here. Upon Foley's death in 1874, Woolner was selected to carry out the work, 
which he completed in 1884. This statue has been spoken of as ** one of 
the finest portrait statues of the English School, combining a severe, yet 
elegant design, with execution of the highest kind, every element being 
thoroughly artistic." 

FOLEY (John Henry), R.A. 

For memoir of the sculptor, see page — 165. 

HIS ROYAL HIGHNESS THE PRINCE CONSORT. 

Marble Statue. 



176 



PICTURES 
IN THE COUNCIL HOUSE. 



I 



PICTURES 
IN THE COUNCIL HOUSE. 

(The pictures are placed in the Reception Rooms, Library^ Conid^r, 
L4}rd Mayot^s Parlour^ and several of the Committee Rooms.) 

BAKER (Alfred). 

Alfred Baker, born in Birmingham in 1850, son of Mr. 
S. H. Baker {see below\ was educated at Handsworth 
Bridge Trust Grammar School. He left there at the age 
of fifteen and began to study as an artist. He attended the 
Birmingham School of Art, but was chiefly a pupil of his 
father. He worked largely in the open air among the 
farms and scenery of the Midlands, and in North Wales. 
A very promising career was cut short by his early death in 
1872, when he was not quite twenty-two years of age. 

HARVEST TIME IN SOUTH STOKE. 

On canvas, i ft. 4 in. hig^h by 2 ft. wide. 

Presented by Mr, S, If, Baker, 

BAKER (S. H.). 

Samuel Henry Baker, landscape artist, was born in 1824, 
near the famous Soho Works, where his father and grand- 
father held prominent positions. At the age of nine he lost 
his father, and later was apprenticed by an uncle to a 
magic-lantern slide painter named Chaplin. He also took 
lessons in drawing, and studied at the School of Design 
under Mr. George Wallis. He was also instructed in 
landscape painting by J. P. Pettitt. In 1848 his first 
picture was exhibited in the Birmingham Exhibition. Since 

179 



that time until the present he has been a constant exhibitor 
here, and also at the Royal Academy. An exhibition of his 
water-colour drawings was held at the Midland Institute, 
1886. He is a fellow of the Royal Society of Artists. In 
1898 a collection of his paintings and drawings was exhibited 
at Messrs. Graves and Co.'s Gallery, Birmingham. 

IN THE LLEDR VALLEY, NORTH WALES. 

On canvas, i ft. i ij in. hig-h by 3 ft. 3) in. wide. 

Bequeathed by Mr. C. Carhjoright, 

NANT GWYLT, RADNORSHIRE. 

On canvas, 3 ft. hig'h by 4 ft. 5) in. wide. 

Presented by a Gentleman. 

The valley depicted here forms the first reservoir of the new Binningham 
Water Scheme. 

BARBER (J. v.). 

For memoir of the artist, see page 8. 

MORNING. 

On canvas, 3 ft 2} in. high by 3 fL 9I in. wide. Painted and exhibited at the Royal 

Academy, 1829. 

Permanent Loan from the Council of the Midland Institute, 

BEVERLY (W. R.). 

William Roxby Beverly was born in 1824, at Richmond, in 
Surrey. His father was a midshipman, named Roxby, who 
had served under Nelson, but left the sea and appeared on 
the stage under the assumed name of Beverly. It was 
intended the son should follow his father's profession, but 
he ultimately became a scene painter. In 1851 he was 
made painter and director of the painting rooms at Covent 
Garden and Drury Lane Theatres, and became renowned 
for his gorgeous visions of Fairyland, and his magnificent 
transformation scenes. His works in water-colours are also 
well known, and he exhibited a number of seapieces in the 
Royal Academy between 1865 and 1880. 

180 



NEWHAVEN PIER. 

Water-colour drawing, 2 ft. 3 in. hig-h by 3 ft. 7 in. wide. Painted in 1872. 

Presented by Mr, E, C*. Osborne, 

BURT (C. T.). 

For memoir of the artist, see page 38. 

WARWICKSHIRE. 

On canvas, 3 ft. 7 in. hig-h by 5 ft. 10 in. wide. 

Presented by Mr, R, J, R, Mackenzie, 
THE SKYLARK. 

On canvas, i ft. 11 in. high by 2 ft. 11 in. wide. Painted in 1874. 

Bequeathed by Mr, C, Cartwright, 

COLLINS (James Edgell). 

James Edgell Collins, a London portrait-painter, contri- 
buted some sixty portraits to various London Exhibitions 
between the years 1841 and 1875, including twenty-three at 
the Royal Academy. He painted, among others, the Earl 
of Carnarvon, and Sir William Grove, the Judge. 

ALDERMAN THOMAS PHILLIPS. 

On canvas, 2 ft. 11 in. hig-h by 2 ft. 3 in. wide. Painted in 187 1. 

Presented by Mr, John Palmer Phillips, 

Mr. Thomas Phillips was bom in 1795. He was Mayor of Binningham 
in 1844-45. ^^ ^^ public act after election was to preside at a Town's 
Meeting on November 19th, 1844, held to take steps for establishing Public 
Baths and Parks, and other open spaces for exercises and active sports, for 
which a sum erf ;£4,43o was raised. Before the close of his mayoralty he 
laid the foundation stone of the Borough Gaol. 

DAWSON (Henry). 

For memoir of the artist, see page 54. 

ON THE TRENT. 

On canvas, i it. iij in. high by 2 ft. 11 in. wide. Painted in 1853. 

Presented by Mr, Frederick Elkington. 

181 



DORE (Gustave). 

Louis Christophe Gustave Paul Dore was born in 
Strasburg in 1833. At the age of 15 he began to exhibit 
landscape sketches in pen and ink at the Salon. He then 
became a regular contributor to the comic illustrated papers. 
His earliest exhibited works were historical. Although 
gifted with a marvellous fertility of imagination and won- 
derful facility of execution, he nevertheless possessed grave 
defects. Nowhere are his faults of drawing more manifest 
than on the enormous canvases exhibited in the Dor6 Gallery 
in London. It is, however, as a designer of illustrations for 
books that the wonderful versatility of his genius becomes 
most apparent. He was a master of caricature. Among 
the most famous of his illustrations were those for the Bible, 
Milton's Paradise Losty Tennyson's Idyls of the King^ La 
Fontaine's Fables^ Cervantes' Don Quixote^ and Dante's 
Inferno^ PurgatoriOy and Paradiso. He died in Paris in 
1883. 

" LA MARSEILLAISE." 

Black and white drawing*, 2 ft. 5 in. high by 3 ft. 3 in. wide. Dated 1870. 

FresenUd by Sir John C. Holder, Bart. 

The " Marseillaise " was the grand patriotic song of the French Revolu- 
tion, which has become the National Anthem of France; The words and 
music were composed by Rouget de Lisle (bom 1760, died 1836), an artillery 
officer in garrison at Strasbourg, for Deitrich, mayor of the town. On July 
30th, 1792, the volunteers of Marseilles, invited by Barbaroux at the instance 
of Madame Roland, marched to Paris singing their favourite song ; and the 
Parisians, enchanted with it, called it the " Hymne des Marseillais." 



GILBERT (Sir John), R.A. 

For memoir of the artist, see page 67. 



THE SQUIRE^S DAUGHTER. 

h by I ft. 8i in. ^ 
V.S., in 1891. 

Presented by the Artist. 



Water-colour drawing, 1 (t. 3{ in. higrb by i ft. Sj in. wide. Painted and exhibited 

RW.S., in 1891. 



182 



JENNY SNAPPING HER FINGERS AT CAPTAIN WEAZEL." 

I. hiefa by 2 ft. 11 
R.W.S., in 1882. 



Water-colour drawins^, x ft. 1 x) in. higli by 2 ft. ix in. wide. Painted and exhibited 

R.W.S" 



Presented by the Artist, 

This is a scene fiom Roderick Randamy by T. Smollett Roderick and 
his companion and old schoolfellow, Strap, the barber, have arrived at an 
inn, with other fellow travellers in a waggon. Captain Weazel, a choleric 
little gentleman, of unprepossessing appearance, demands to be served with 
dinner in a separate room with a fire. This rouses the ire (^ the other 
travellers, and Mrs. Jenny, one of the ladies of the party, proceeds to call the 
Captain names, and to make insinuations against the honour of Mrs. Weazel, 
In reply the gallant Captain uses still more violent epithets. " So saying, he 
drew his sword, and flourished with it, to the great terror of Strap; while 
Mrs. Jenny, snapping* her fingers, told him she did not value his resentment 
a louse. ** 

A RAID. 

Water-colour drawing, x ft. 2\ in. high by 2 ft. i) in. wide. Exhibited R. W.S. 

PresenUd by the Artist, 

LANDSCAPE SKETCH. 

Water-colour drawing, 9! in. high by i2\ in. wide. Painted in 1869. 

Presented by the Artist, 

BELINDA. 

Water-colour drawinir, 2 ft. 3& in. high by 1 ft. 6) in. wide. Painted and exhibited 

R.W.S., in 1891. 

Presented by the Artist. 

PREPARING FOR THE CHARGE. 

On canvas, ^ in. high by 13! in. wide. Painted in 1873. 
Sketch for the picture " Charge of Cavaliers at Naseby." 

Presented by the Artist, 

WOODLAND SCENE. 

Water-colour drawing, i ft. 4 in. high by i ft. 5J in. wide. Painted in 1880. 

Presented by the Artist. 

A WINDY DAY. 

On canvas, i ft. 7i in. high by i ft. iij in. wide. Painted in 1885. 

PresenUd by the Artist. 

OWEN GLENDOWERS HOUSE AT DOLGELLY. 

On canvas, 1 ft. o* in. high by x ft. 5I in. wide. Painted in 1875. 

Presented by the Artist, 

183 



Owen Glendower, a Welsh chief, was one of the most active and formid- 
able enemies of Henry IV. He was descended from Llewellyn, the last of 
the Welsh princes. He conspired with Hotspur. Douglas, and odiers to 
dethrone Henry, but the coalition was ruined in the fatal battle of Shrews- 
bury. He allied himself with France, and ravaged the Marches, 1406-7. 
He died during negotiations with Henry V. in 14 15. Shakespeare makes 
the Welsh nobleman a wizard of great diversity of talent 

This house, locally called the Parliament House, is in a court behind the 
Post Office at Dolgelly, and is pointed out as the place where Glendower 
held the meeting of his partisans when he signed the treaty of alliaixre 
with Charles of France in 1404, mentioned above. 

COTTAGES NEAR LEWISHAM. 

On canvas, I ft. 2} in. high by t ft. 7I in. wide. Painted in 1876. 

Fresetfted by the Artist. 



HENSHAW (F. H.). 

For memoir of the artist, see page 77. 

THE QUEEN'S BRIDGE, SHUGBOROUGH, STAFFORDSHIRE. 
On canvas, 2 ft. 4^ in. higrh by 4 ft. 5^ in. wide. Painted in 1871. 

Presented by Mr. FeUx Hiadley, 

DERWENTWATER. 

On canvas, 2 ft. 7I in. higb by 3 ft. 3I in. wide. Painted in 1832. 

Presented by Mr. John Palmer Phillips. 

HOLL (Frank), R.A. 

For memoir of the artist, see page 79. 

SIR THOMAS MARTINEAU, MAYOR OF BIRMINGHAM, 1884.5, 
1885-6, 1886-7. 
On canvas, 2 ft. ii| in. hig^ by 2 ft. 5i in. wide. Painted in 1887. 

Presented by the Subscribers. 

Sir Thomas Martineau, three times Mayor oi Birmingham, was the eldest 
8(Hi of Mr. Robert Martineau, brother of the famous authoress, Harriet 
Martineau, who came to Birmingham early in the present century. Sir 
Thomas was bom in 1828. He chose the profession of the law, and was 
articled to Mr. Arthur Ryland, being admitted a solicitor in 1852, and 
taken into partnership by Mr. Ryland s^terwards. He took an active interest 
in the Midland Institute, and in politics was an ardent Liberal. He entered 

184 



the Council in 1876, and was elected an Aldennan in 1883, and was Mayor 
during the three following years. He was knighted after the Queen's visit 
in 1887 to lay the foundation stone of the Law Courts. His mimicipal record 
was a brilliant one. His last great work was the Welsh Water Scheme, 
which, as Chairman of the Water Committee, he safely piloted through the 
first stages of its existence. He died in 1893 after a long and painful 
illness, after a life devoted to advancing the best interests of his native town. 

HOLTE (A. Brandish). 

IN THE LLUGWY VALLEY, NORTH WALES. 

On canvas, 2 ft. 5} in. high by 2 ft. o} in. wide. 

Presented by the Artist, 

HULME (Frederick W.). 

Frederick William Hulme was born at Swinton, in 1816. 
He was the son of a Yorkshire artist of some reputation. 
His first exhibited picture was at Birmingham in 1841. He 
went to London in 1844, and for a time made designs for 
engravers, especially for i\\Q Art Journal. He painted much 
at Bettws-y-Coed, in a style not unlike that of Creswick. 
He occasionally worked on pictures in conjunction with 
other artists. He had a large practice as a teacher of 
drawing, and published some drawing books for use in 
schools. He was a frequent exhibitor at the British Institu- 
tion from 1845-1862, and the Royal Academy from 1852- 
1884. He died at Kensington, November 14th, 1884. 

MILLWATER, OCKHAM. 

On canvas, 3 ft. 5 in. big^h by 4 ft. 1 1^ in. wide. 

Presented by Mr. John Wand, 

JOHNSON (Harry J.). 

Henry John Johnson (known as Harry J. Johnson), a 
landscape painter in oil and water-colour, was born in Bath 
Row, Birmingham, April, 1826. He was the eldest son of 
an artist, W. B. Johnson, and was educated in his native 
town, being for a time the pupil of the Rev. Hugh Hutton. 
He early showed a capacity for art, and was a student of 

185 



the Birmingham Society of Arts until 1843, when he was 
placed under William Miiller. He accompanied that artist 
to Malta, Rhodes, Smyrna, Xanthus and other places, from 
November, 1843, to April, 1844. From 1845 he exhibited 
at the British Institution, where his works were well 
received, and occasionally at the Royal Academy. He 
travelled much on the Continent, visiting Greece, Switzer- 
land, Germany, France, Spain and Italy. He also worked 
considerably in Wales and Scotland, spending much time in 
the former country with David Cox, an old friend of his 
father's, who gave him much valuable assistance. He 
worked very rapidly. In 1870 he was elected a member of 
the Royal Institute of Water-Colours. He died at his 
residence in St. John's Wood, on the last day of 1884, after 
only a few hours' illness, being in his 58th year. Six of 
his water-colour drawings are in the South Kensington 
Museum. 

ATHENS. 

On canvas, 2 ft. 4 in. high by 5 ft. wide. 
Presented by the Trustee of Mr. John Frederic Feeney, 
The fig^ures in this picture were painted by H. W. Pickersg^, R.A. 

** Behold 
Here on the i£^ean shore a city stands 
Built nobly, pure the air, and lig^it the soil, 
Athens, the eye of Greece, mother of arts 
And eloquence." 

Milton, Parodist R^ained, iv., 238. 

LINES (H. H.). 

For memoir of the artist, see page 96. 

IN THE FOREST OF ARDEN. 

On canvas, 2 ft. iij in. bigti by 4 ft. i\ in. wide. 

Presented by Mr, F T. Lines , 

LINES (Samuel). 

For memoir of the artist, see page 97. 

On canvas, 3 ft. o) in. high by 4 ft. i} in. wide. 
LLYN IDWAL. 

Permanent Loan from the Council of the Midland InsHiuie. 
186 



MUNNS (H. T.). 

Henry Turner Munns^ portrait painter, was born in 
Northampton in 1832. As soon as he left school he was 
employed in a boot and shoe manufactory in his native 
town, but even while a school boy he had cultivated his 
talent for portraiture. His father, who was a designer in 
the same factory, used every effort to discourage his son, 
who, however, determined to adopt painting as his profes- 
sion. When about eighteen he became acquainted with a 
travelling miniature painter of some repute, named Locke, 
who gave him a lesson every time he visited Northampton. 
At the age of eighteen, commissions for portraits at the rate 
of £3 a piece were given him. After his apprenticeship 
he started a portrait club, and having got together twenty 
members at 2s. 6d. a week, he for some time derived a 
steady income from that source. He next visited Bucking- 
hamshire to paint portraits. When the Russian War broke 
out he painted and exhibited a Panorama of the War, giving 
a descriptive lecture with it. He next joined a Northampton 
photographer, whose photographs he coloured for some 
years. Later on he came to Birmingham, and entered into 
an engagement with Mr. Whitlock, of New Street, for similar 
work for a number of years. His first portrait painted in 
Birmingham was of Dr. Langford, which was exhibited at 
the Royal Society of Artists. He eventually became a 
member of the Society, and succeeded Mr. W. T. Roden as 
director of the Life Academy. In 1871 he painted the 
portrait of the Lord Mayor of London, and from that time 
was much occupied with civic and other presentation por- 
traits. He occasionally exhibited at the Royal Academy. 
He died in 1898, aged 66. 

GEORGE DAWSON, M.A. 

On canvas, 4 ft. i^ in. hig'h by 3 ft. o) in. wide. Painted in 1877. 

Bequeathed by Mr, E. D, Wilmot. 

George Dawson, bom in London in 1821, was intended for the Baptist 
Ministry. In 1844 ^e became minister of Mount Zion Chapel in Birming- 
ham. His disregard for the merely conventional usages of the sacred office 
alienated from him a portion of his congregation, and a separation took 

187 



place, when the majority seceded with the minister. A new chapel was 
erected for him in 1847, and was called *' The Church of the Saviour." Mr. 
Dawson did not advocate peculiarities of doctrine, but rather made an 
earnest desire for the truth, and a life of obedience to God and charity to 
man, the great tests of a Christian spirit. He was a very popular literary 
lecturer. When the Birmingham Morning News was started in 187 1 he was 
made editor. He was also a member of the School Board, and interested in 
all the educational movements of the town. Died suddenly at his residence. 
Ring's Norton, in 1876. 

ALDERMAN THOMAS AVERY, Mayor of Birmingham in 1867 and 1881. 
On canvas, 2 ft. 6 in. high by 2 ft. wide. 

Presented by Mr, \V, Bnlhy Avery, 

PEARSON (Mrs. Charles). 

Mrs. Charles Pearson, portrait painter, whose maiden 
name was Mary M. Dutton, was born in 1799. Early in 
life she married Mr. Charles Pearson, solicitor to the 
city of London, who was afterwards member of Parlia- 
ment. She exhibited portraits at the Royal Academy 
between the years of 1821 and 1842, two of these being 
portraits of Lord Mayors. Her best known work is a 
portrait of Sir David Solomons, Sheriff and Lord Mayor of 
London, who fought the battle of the admission of the Jews 
into municipal offices and Parliament. Her portrait of 
Viscount Combermere, Commander-in-Chief in India, painted 
in 1823, is in the National Portrait Gallery, and portraits of 
Lord Denham, Sir James Shaw, and Sir Thomas Kelly, are 
in the London Guildhall collection. She died on April 
15th, 1871, aged 72. 

THOMAS WRIGHT HILL. 

On canvas, 3 ft. hig-h by 2 ft. 3 in. wide. 

Beqtieathed by Mr, Frederic HilL 

Thomas Wright Hill was the founder of Hazel wood School, in the 
Hagley Road, ^he most notable educational institution in Binningham at 
the beginning of the last century. As a youth he was apprenticed to a 
brassfounder, but gave up the trade, and began teaching, having gained 
his first experience in the New Meeting Sunday School. He opened a 
school at Hill Top about 1803. With all his splendid gifts he lacked busi- 
ness aptitude, so that his son Rowland took charge of his money affairs, 

188 



and gradually became chief director of the school, which he removed to 
Hazelwood about 1819. The latter elaborated a curious system of govern- 
ment by the boys, with a constitution and a code of laws that filled more 
than a hundred closely printed pages. This system was described in a 
pamphlet by his brother, Matthew Davenport Hill, which made the scho(^ 
famous. Many notable men were educated there. In 1827 the school was 
removed to Bruce Castle, Tottenham, and was handed over to the cai^e of 
Edwin and Arthur Hill, their brother Rowland ha%'ing aspirations towards 
social reform which he could not carry on while burdened with the cares of 
a schoolmaster. As everybody knows, he ultimately directed his attention 
to postal reform, and gave to the world the splendid boon of penny postage. 
Thomas Wright Hill died in 1851, leaving five sons, all of whom occupied 
honourable positions ; Sir Rowland Hill at the Post Office, Matthew Daven- 
port Hill as Recorder of Birmingham (see page 168), Edwin Hill at the 
Stamp Office, Frederick Hill for many years Inspector o^ Prisons in Scotland, 
and Arthur Hill as Head-master of Bruce Castle School. A most interest- 
ing account of the Hill family and Hazelwood School is given in Mr. R. K. 
Dent's Making of Birmingham. 



PRATT (Jonathan). 

Jonathan Pratt was born at Northampton, April 27th, 
1835. At the age of eleven, at his own wish, he was 
apprenticed to a portrait painter in that town for ten years. 
At twenty-one he practised as a portrait painter in Lincoln, 
Leicester, and Doncaster, and settled in Birmingham in 
1863 in the same capacity, but soon devoted himself more 
especially to figure painting. In 1872 he was elected a 
member of the Royal Birmingham Society of Artists, and 
in 1882, on the death of Mr. Allen E. Everitt, he was 
unanimously elected honorary secretary of that body. In 
the same year he was appointed honorary curator of the 
Corporation Art Gallery, which post he held until the 
present building was opened in 1885. 

THE REV. ARTHUR G. O'NEILL. 

On canvas, 4 ft. i J in. hig-h by 3 ft. 3 in. wide. Painted in 1880. 

Presented by the Subscribers, 

Arthur O'Neill was the son of a proscribed native of Ireland, who took 
refuge in this country and married an Essex lady. In his youth he was 
intended for the Army Medical Department, and was with the 73rd Regiment 
in Ireland from 1823 to 1828, and went with it to the Mediterranean. He 

189 



.ii!iidi<^ .-^r t1ii» itifue,. !ir>w<tv«»: a iirvtaC dki a^pr ttwik pftaor iicD Us unnaiL SbsL- 
ing9, jnii )li» mind. \v»» mvvfu^tr atxrarttftfii ttQwasr^ osihpbis am£ gnOfiicSh aaif 
jniffirnlarty by rjut Ouwnint a^ptacion. of nfj^. lIriB& cfti» uujuougufl hr rftcKw 

4r it» n(msfiiu(!i^ H<r first viflitutri B lciuiiif^& aar ia nft^Kn;. wftiOD Ihc < 
^/Imi^ow af» a deiitflpiCft m weirrGiiift cvpo* Chostiai: gSBsniKS wiksv bk£ 
lihirrarimi from Warwirk j^xA. Soov jftsr he bcraaiie pinr /rf a IMigr cfto^ 
in ^>wKaJ] f9trf«»f, .fimace a^ iitxle butter top c&e scsest: t&n ZaoiE QopeL 
wf^r.h wan af^4»rwriii imriicr hi» risae^ for a givstt poet of Ub fi^E^ h a 
fhoff fimA" hxt js^aifhitTtti roimri bxis si I^skj^ (dcidttr of fTiiiirniTiiv cdhieffif of t&c 
aitfMn rianfK whr^m he interiMtftrf in snrft onoKS a» tncail a baciugime ^ peace. 
xnrf ^ffacMon, which he r^rtpardeij 2» snxiliaxies ft> eeligioiL Is 1S42 a 
fnrr.her atcark w» marie oprin ehe Cbartiaci- by cfae ConsexiraCEve Covers- 
m<mf , zttd ffnmg; that ^rear Mr. O^^Vein fiat suffesed impdaoiBBeiit for the 
rwMe. hut he wm liberated after <ii:% week& In tbe ioQcmm^ fear be w«s 
Mnfencerf r/> one year'^ inifyhsonment. On hia release fmm pdaoa be 
r^nmerj r/> Birmin^pham, and vitfa a portion of hia focmer crmgnrgatToOy 
jr^merl fhe Baptintji. He carried on his pastorate of Zioa Cbapel ontil £885. 
when he retirerl, alfhonyiph preaching there oorasooaQy op ti> tbe time of 
his death, which r/x^k place on May 14th. 1896. Dormg bis last fears he 
frequently appeared in public in connectinn with the aati-sia^eij move- 
fnent, amJ on queitions o( peace and international arbitration. 

JOHN .SKfRKOW WRIGHT, M.P. 

On camriM, 4 ft. i^ in. hi^h by j ft. J in. wide Painted in 1880. 

FrisenUd by the Smbxribers. 

John .Skirrfjw Wright was bom at Hebden Bridge, in Yodcafaiie, 1825. 
He became a merchant in Birmingham, and was at one tisw a partner in 
the firm of Smith and Wright, button manufacturers and tin-plate woikers. 
He trx>k a great interest in all movements for bettering the cooditioa of 
the working claMes. As chairman of the Birmingham Scfaooi Board he 
renrierer! valuable aid in promoting the educational work of the town. He 
was a keen politician, and was elected member for Nottingham, in the LiberaJ 
intercut, shortly before his death, which took place suddenly at a meeting 
of the Scho<;l iA Art Committee in 1880. 

THE RIGHT HON. JESSE COLLINGS, P.C, M.P. 

On cmnvaih 4 ft. i in. high by 3 ft. 3 in. wide. 

FresenUd by the Smbscribtrs. 

This picture was "* presented to the town by five thousand working men, 
in appreciation of the earnest and able manner in which he {nxMnoted meas- 
ures tending to the intellectual and material advantage of the people during 
a long and honourable connection with the municipality of Birmingham." 

190 



RODEN (W. T.). 

For memoir of the artist, see page 127. 

JOHN BIRT DAVIES, M.D. (formerly Coroner for Birmingham). 
On canvas, 4 ft. i| in. high by 3 ft. 3^ in. wide. 

FresenUd by the Subscribers. 

ALDERMAN E. C. OSBORNE. 

On canvaSf 4 ft. i in. high by 3 ft. 3 in. wide. 

Fresented by the Subscribers. 

ALDERMAN HENRY HAWKES (fonnerly Coroner for Birmingham, and 
Mayor in 1852). 

On canvas, 4 ft, i in. high by 3 ft. 3 in. wide. 

Presented by the Subscribers 

THE RIGHT HON. W. E. GLADSTONE, P.C, M.P. 
On canvas, 2 ft. 5} in. high by 2 ft. o} in. wide. 

Presented by the Subscribers. 

THE RIGHT HON. JOHN BRIGHT, P.C, M.P. 

On canvas, 2 ft. 5} in. high by 2 ft. o^ in. wide. 

Presented by the Subscribers. 

For memoir of John Bright, see page 80. 

SHANNON (James J.), A.R.A. 

James Jebusa Shannon was born in Auburn, New York, 
in 1862, and came to England in 1878. He studied at 
South Kensington for three years, and gained the gold 
medal for figure painting in his second year, and a few 
years afterwards painted the portrait of the Hon. Horatia 
Stopford, one of the Maids of Honour, which, by command 
of Queen Victoria, was exhibited in the Royal Academy in 
1 88 1. It was his original intention to study here for a year 
or two and then return to America, but the rapid growth of 
his reputation caused him to remain permanently in England. 
His full length portrait of Mr. Henry Vigne, exhibited in 
1887, secured him many commissions and foreign distinc- 
tions, including gold medals at Paris, Berlin, and Vienna. 

191 



He has also received medals at Munich and Chicago. He 
has painted a large number of portraits and a few subject 
pictures. He was an original member of the New English 
Art Club, an active supporter of the Society of British 
Artists, under Whistler's presidency, and a member of the 
Institute of Painters in Oil-Colours. An exhibition of his 
works was held at the Fine Art Society in 1896, and in the 
following year he was elected an Associate of the Royal 
Academy. 

SIR JAMES SMITH, KT. (first Lord Mayor of Binningham, 1895-96). 
On canvas, 4 ft« 7^ in. high by 3 ft 2} in. wide. 

FrcscfUed by the Subscribers, 

WYATT (Henry). 

Henry Wyatt was born at Thickbroom, near Lichfield, in 
1794. He early lost his parents, and resided at Hands- 
worth, with his guardian, son-in-law of Francis Eginton, 
to whom he was apprenticed. He acquired a fondness for 
art, and went to London in 1811 to study at the Royal 
Academy. For some time he worked under Sir Thomas 
Lawrence, and in 181 7 he returned to Birmingham, and 
devoted himself more particularly to portrait painting. He 
also practised portrait painting at Liverpool and Manchester. 
He was a constant exhibitor at the Royal Academy. In 
1825 he returned to London, but his health failing he went 
to reside near Leamington in 1834. Then he went to 
Manchester to paint some portraits, and in the spring of 
1838 was struck by paralysis. He never recovered, and 
died at Prestwich, February 27th, 1840. 

JULIET. 

On canvas, 2 ft. 1 1 in. higfh by 2 ft. 3 in. wide. Painted in 1833. 

Presented by the Birmingham Society of Arts, 



192 



PICTURES AT 
LIGHTWOODS PARK, 



PICTURES 
AT LIGHTWOODS PARK. 



ANDERSON (Mrs. S.). 

Mrs. Sophie Anderson was born in Paris in 1823. Her 
mother was English, her father French, an architect by 
profession, and a man of great artistic taste. Shortly after 
her birth, the family removed to a remote part of France. 
From earliest childhood she had a great passion for drawing 
and painting, and persevered in spite of every disadvantage. 
The only lessons she received before she was twenty were a 
couple from a travelling portrait-painter. Afterwards she 
studied for a short time in Paris under Steubin, the Russian 
artist, and continued to make improvement in portrait- 
painting. During the revolution in 1848 the family left 
France for America, where for a number of years she painted 
portraits with success. In 1849 she married Mr. Walter 
Anderson, an English artist, and in 1854 visited England, 
where she stayed for the next eight years, afterwards settling 
in the Island of Capri, in the bay of Naples. 

THE CHILDREN'S STORY BOOK. 

On canvas, 3 ft. 8^ in. high by 4 ft. 6^ in. wide. 

Bequeathed by Mrs, Turton, 

BURT (C. T.). 

For memoir of the artist, see page 38. 

NEAR LLANBEDR, BARMOUTH. 

On canvas, i ft. ii) in. hig'h by 2 ft. 11 in. wide. Painted in 1872. 

Presented by Mr, W, E, Everitt, 

195 



DANBY (James Francis). 

James Francis Danby, landscape artist, one of the two 
painter sons of Francis Danby, A.R.A., was born at Bristol 
in 1816. His works appeared at the Royal Academy and 
at the Society of British Artists, of which latter body he 
was a member. He died of apoplexy in London, October 
22nd, 1875. ^^ excelled in depicting sunrise and sunset. 

LEAVING PORT. 

On canvas, i ft. i} in. hi^b by 3 ft. 6} in. wide. Painted in 1858. 

Bequeathed by Mr, William Afiddlemore. 

AT ANCHOR. 

On canvas, i ft. io| in. big'b by 3 ft o| in. wide. Painted in 1858. 

Bequeathed by Mr, William Middlemare, 

EVERITT (Allen E.). 

Allen Edward Everitt, born in Birmingham, 1824, was 
son of Edward Everitt, an art dealer, and grandson of Allen 
Everitt, a well-known Birmingham artist and drawing 
master. His maternal grandfather was David Parkes, the 
Shropshire antiquarian. He early showed that he had 
inherited all the artistic faculties of his parents. He 
received lessons in early life from David Cox. His special 
talent soon showed itself to be the illustration of old 
buildings and interiors. Taking Birmingham as a centre, 
he made careful drawings of almost every spot in the 
Midlands which possessed archaeological or historical 
interest. Between the ages of thirty and forty, he made 
painting tours in the old towns of Belgium, France, and 
Germany. His work was mainly executed in water-colours. 
In 1857 he joined the Royal Birmingham Society of Artists, 
of which he became honorary secretar}' in 1858, a post 
which he held until his death. For many years he taught 
drawing at the Deaf and Dumb Institution. He was on^ 
of the honorary secretaries of the Archaeological Section of 
the Midland Institute, and contributed various papers. la 
June, 1880, he accepted the post of honorary curator of the 

196 



Free Art Gallery. In 1854, he completed an important 
series of drawings of Aston Hall, which were used to 
illustrate Davidson's ^* History of the Holtes of Aston." 
He also illustrated Mr. Bunce's *^ History of old St. 
Martin's'' (1875). He died at Edgbaston, of congestion of 
the lungs, on June nth, 1882. 

ISOMETRIC VIEW OF ASTON HALL, BIRMINGHAM. 
Water- colour drawing, i ft. 7} in. high by 2 ft. 4 in. wide. 

Presented by Mr. Charles Cartwrighi. 

AstcHi Hall was built in 1618 by Sir Thomas Holte, of Duddeston. At 
the beginning of the Civil War he entertained King Charles on his march 
from Shrewsbury to Banbuiy. In consequence of this the Birmingham 
people, who were for the Parliament, attacked the Hall. After a siege erf 
three days Sir Thomas suirendered; he was imprisoned, and his estates 
confiscated. He died in 1654, and the Holte family gradually declined in 
importance. In 1782 the estate passed out of their hands. In 1856 a 
limited liability company was formed to carry on Aston Park as a public 
recreation ground. The Queen and Prince Albert opened it in 1858. In 
1 864 it was taken over by the Corporation of Birmingham, and now forms a 
branch museum in connection with the Corporation Art Gallery. The Hall 
is a noble mansion of the Jacobean style, and contains an oak-panelled 
gallery, with a richly-decorated ceiling, 131 feet in length. (See *' Handbook 
to Aston Hall," price cme penny.) 

HENSHALL (J. Henry), R.W.S. 

J. Henry Henshall was born at Manchester in 1856, and 
at the age of sixteen attended the local art schools. When 
twenty he went to London and entered as a pupil at South 
Kensington, but only remained there one term, and was 
admitted to the Royal Academy Schools in 1876. In 1879 
he first exhibited a water-colour drawing at the Royal 
Academy, and in the following year gained a medal for 
*^ painting from life in oils/' Since that time he has been a 
constant exhibitor at the annual exhibitions. He was 
elected an Associate of the Royal Society of Painters in 
Water-Colours in 1883, and a full member in 1897. He 
became a member of the Manchester Academy of Fine Arts 
in 1901. 

IN WONDERLAND. 

Water-colour drawing, 2 ft. 4} in. high by 3 ft. i} in. wide. Painted in 1889. 



HENSHAW (F. H.). 

for fDei&oir of tht miua^ fee page 77. 



A DISTANT VIEW OF ILEMLWORTH CASTLE. 

O0 ciaii&*« 2 It. oi in. high bj 3 ft. 3 in. vide. Pvalfid in 1843. 

PrtumUd by Mrs. James Mmngold, 



HULME (F. W.). 

For memoir of the artist, see page 185. 



ENGLISH LANE SCENE. 

Do caovaft, 2 ft. 4 ia. big;!! by 1 ft. 10 in. wide. Painted in iBtt. 

Pnsenkd by Mr. /. CefpodL 



LINES (Samuel). 

For memoir of the artist, see page 97. 

THE DUKE OF CAMBRIDGE LEAVING THE BIRMINGHAM 
TOWN HALL, 1857. 

On canvas, circniar. a ft. 5 in. in diameter. 

Pwuenkd by Mrs. Maxmfeil. 

THE OPENING OF CALTHORPE PARK, 1857. 
On caunras, circniar, a ft. 5 in. in diameter 

Presented by Mrs. MaxmelL 

l*hese two pictures were painted io commemoration of die dedicatioQ 
of Calthorpe Park to public use by the Ute Lord Calthorpe. It was opened 
with much ceremony on the ist June, 1857, in the first of the diree yean 
of the mayoralty of Sir John Ratcliff. His Royal Highness the Duke of 
Cambridge visited the town for the purpose of opening die park, and 
remained for a night the guest of the Mayor. Three trees were then planted 
in the centre of the groimd, one by the Duke, one by Lord CaldKxpe, and 
one by the Mayor. For several years it was maintained simply as an open 
fielil for games. The tenure of Calthorpe Park was the subject of consider^ 
able negotiation for a number of years. At first the Corporation were oc- 
cupiers on sufferance, paying a nominal rent of ^5. The diflkuhies and 
restrictions of the tenure were finally cleared away in 1894, when Lord 
Calthorpe. with the consent of the Hon. W. G. Calthorpe, conveyed die 
park in fee-simple to the Corporation. 

198 



MARKS (H. Stacy), R A. 

For memoir of the artist, see page loi, 
'* WHERE IS IT?^ 

On canvas, 3 (t big-h by 2 ft. 4 In. wide. Painted in 1882. 

Bequiatfted fy Mr. Joseph Beaitie 

REDGRAVE (Richard), C.B., R.A. 

Richard Redgrave, C.B., R.A,, was born in 1804- He 
was admitted a studeat in the Royal Academy Schools in 
1826, and eked out his resources by teaching landscape 
drawing. In 1838 he first exhibited at the Academy. In 
1840 he was elected an A.R.A., and in 1851 was made an 
R.A. In conjunction with Mr. H. Cole, he formed the 
Museum of Ornamental Art at Marlborough House, 
increased under their joint charge into the Museum of 
Art at South Kensington. He was one of the jurors on 
the Fine Arts Section of the Great Exhibition, 1851. In 
1858 Her Majesty appointed him Surveyor of the Crown 
Pictures. In conjunction with his brother he published A 
Century of British Painters^ 1866. He died in 1888. 

" THE VALLEYS STAND THICK WITH CORN," 

On canvas, 2 ft. 4 in. bigfh by 3 ft* 2 in. wide. Fainted in 1865. 

Presented fy Mrs. Redgrave, 



STANIER (Henry). 

Henry Stanier was an artist at one time well-known in 
Birmingham, When a young man he was a constant con- 
tributor to local exhibitions^ and showed much promise, 
especially in architectural subjects and still life, from his 
facility of free and '* dashing" drawing, and a decided 
feeling for colour. Towards the end of his life, partly on 
account of his health, he took up his residence at Granada, 
in Spain, and at a later period was appointed English 
Consul for that city and district. The famous Moorish 
palace of the Alhambra, the chief glory of Granada, was 

199 



the object of his special sotkitiide. He stored it lonngly 
and carefully in e^^ery detail^ sketched and painted it under 
all aspects, and occasionally sent home drawings of it which 
showed power, and were greatly appreciated. He died in 
1892. 

INTERIOR OF SEVILLE CATHEDRAL. 

Water-ooloardfmwiiii:, 2ft.5|iiLbiglib7i fi.g|&«ide. 

BegmeoAed by Dr. Safidd, 

THE LAND OF THE SUX— THE SPHDCL 

Watcr-cokmr dm w in g, i ft 4I in. high by 2 ft. 3 iiL wide. 

Bfqmatked by Dr. SafieU. 

TESSON (L.). 

This artist exhibited two pictures with the SodeQr of 
British Artists in i866. There is a drawing by him, 
^^ Market View in Algiers/' in the Mappin Art Gallery, 
Sheffield 

If ARRET PLACE, ROUEN. 

Water-colour drawing, i It 6 in. h^ by 2 ft. 3 to. wide. 

Presented by Mr. R. L. Ckame. 



aoo 



PICTURES IN ASTON 
HALL. 



PICTURES IN ASTON HALL. 



ALCOCK (Edward). 

No information can be obtained about this artist. There 
is a portrait of Shenstone by him in the National Portrait 
Gallery, a small full-length, with a dog. An artist named 
Alcock, living in London, exhibited a picture at the Royal 
Academy, and two at the Fine Art Society in 1778, figure 
subjects. 

SHENSTONE, THE POET. 

On canvas, i ft. 1 1 in. high by i ft. 7} in. wide. 

Presented by Mr, John Feeney, 

William Shenstone was bom in 17 14, and wrote Foems on Various Occa- 
sions^ printed in 1737, and Works in Verse and Frose, published 1764-69. 
He occupied himself chiefly with his beautiful garden at the Leasowes, 
Shropshire. Died February nth, 1763. Dr. Johnson said of his poems: 
"The general recommendation of Shenstone is easiness and simplicity; 
his general defect is want of comprehension and variety. Had his mind been 
better stored with knowledge whether he could have been great I know not ; 
he could have certainly have been agreeable." And Bums said: "His 
divine Elegies do honour to our language, our nation, and our species ! " 

APPIANI (Andrea). 

Andrea Appiani, the elder, who was born at Milan in 
1754 (or 1 761 ?), excelled both in fresco and oil-painting. 
His best performances in fresco are to be seen in the Palace 
at Milan ; they have been engraved by Rosaspina and 
others. Napoleon sat to him for his portrait, and appointed 
him his painter. At the restoration of the Bourbons he 
lost his pension, and an attack of apoplexy, which he had 
suflFered in 1813, having rendered it impossible for him to 
paint, he was reduced to the extremity of selling all his 

203 



drawings and other valuables to procure subsistence. He 
lived in this condition until 1817, when another attack of 
apoplexy caused his death, at Milan. 

FOUR CARTOONS, fonning the designs for a part of the decoration 
introduced in the Arch of Peace at Milan. 

Charcoal drawings, 5 ft. 5} in. high by 8 ft. 7} in. wide. 

The Anco del Sempione, or Arco delle Pace (Arch of Peace), at Milan, 
is a triumphal arch, in the Roman style, constructed entirely of white marble, 
from designs by L. Cagnola, the architect, and was begun in 1804 by 
Napoleon as a termination to the Simplon route. This route was constructed 
by his order in 1800- 1806, and was the first carriage-road across the Alps 
from Switzerland to Italy. The arch was completed by the Emperor Francis 
in 1838. Most of the sculptures are by Pompeo Marchesi. 

BARBER (J. v.). 

For memoir of the artist, see page 8. 

LANDSCAPE. 

On canvas, 5$ in. high by si in. wide. 
Permanent Loan from the Council of the Midland Institute, 

THE BANDIT'S HOME. 

On canvas, 3 ft. 2 in. high by 4 ft. 5I in. wide. 
Permanent Loan from the Council of the Midland Institute, 

BARRETT (Jerry). 

Between the years 1851 and 1885 this artist exhibited sixty 
pictures in London, including sixteen at the Royal Academy, 
and twenty at Suffolk Street. 

JOSEPH STURGE. 

On canvas, 4 ft. i^ in. high by 3 ft. 3) in. wide. 

Presented hy Mrs, Sturge, 

Joseph Stuige, known as a distinguished practical philanthropist, was 
bom at Elberton, Gloucestershire, August 2nd, 1793. He began business 
as a com merchant at Bewdley, and afterwards in Birmingham, where he 
permanently resided. He was an energetic advocate for the abolition of 
Slavery and the Com Laws. As a member <A the Peace Society he visited 
France in 1848, to urge on the Provisional Government (after the flight of Louis 

204 



Phillippe) the (Mreservation of peace and the freedom of slaves in its 
colonies. He visited Russia in 1854, and presented to the Emperor Nicholas 
a remonstrance against the prosecution of the war in the Crimea. He died, 
honoured and respected, May 14th, 1859. 

BLACKISTON (D. Y.). 

Douglas Y. Blackiston was born in 1810, and died in 
1870. From 1853 to 1865 he exhibited pictures at the 
London exhibitions, chiefly portraits, including eighteen 
at the Royal Academy. 

THE REV. HUGH HUTTON. 

On canvas, 2 ft 5) in. high by 2 ft. o} in. wide. 

Presented by Miss Hutton, 

BLAIKLEY (Alexander). 

This artist exhibited pictures, chiefly portraits, in London, 
between 1842 and 1867, including 27 at the Royal 
Academy. 

THE FIRST RAGGED SCHOOL, WESTMINSTER. 

On canvas, i ft. 11 J in. hig'h by 2 ft. ii} in. wide. 

Bequeathed by Mr, William Middlemore. 

This picture represents the first free school for outcast destitute ragged 
children, opened by Andrew Walker in Westminster, 1839. These schools 
did not receive their name until 1844, when the " Ragged School Union " 
was formed, with the Earl of Shaftesbury as chairman. 

" Studies for this picture were made in the * Refuge ' in Old Pye Street. 
The centre group represents the boys making shoes. To the right a lad 
watches the operations of the master shoemaker, behind whom the boys 
seated on a board make clothes for themselves and others. Beyond the master 
tailor some unruly urchins are disturbing the public peace ; near them is 
the Head Master, Mr. Poultney, admonishing the new scholars. The visi- 
tors are Lord Ashley (addressed by Mr. W. Locke) and Joseph Payne, Esq. 
The Rev. John Branch listens to a boy reading. At the door stands a boy 
named Drury, who shortly after was sent to Australia, speaking to an appli- 
cant for admission. A poor woman comforts a little orphan afraid of being 
left in a strange place. A boy, nearly blind (a portrait), sits near the shoe- 
maker; he enjoys the company although he cannot work. The girl in the 
foreground does a sister's part to a boy who may have seen better days. 
Some girls are introduced to show that they are not neglected, although 
taught in a separate apartment." — Note by the Artist. 

205 



BOND (J. Daniel). 

John Daniel Bond, a Birmingham artist, bom 1725, was 
in early life engaged as a painter of japanned and papier- 
mach^ ware, chiefly ^^tea boards," or trays. He was 
apprenticed to Mr. Clay, of Birmingham, the original 
inventor of papier-mach^ in England. In connection with 
his trade as a decorator, Bond studied art, and eventually 
became an artist, painting landscapes similar in style to 
the example exhibited here. He studied in the Royal 
Academy Schools in 1764. He exhibited at the Royal 
Academy a picture entitled ^*The Angels appearing to the 
Shepherds,'^ which was severely criticised by the London 
press. This picture in 1870 was in the possession of Mrs. 
Rhodes, Handsworth. He was prosperous in the world, 
and resided in a house in the Hagley Road. He died in 
Birmingham, December i8th, 1803, aged 78. In 1764 
Bond gained a prize of 25 guineas from the London Society 
of Arts for the second best landscape, and the next year 50 

fuineas for the first. He exhibited numerous landscapes at 
.ondon exhibitions between 1761 and 1780. 

CLASSICAL LANDSCAPE. 

Oil cunvaii, i ft. 4i in. hi^ by 6 ft. a^ in. wide. 

FrumUd by tkt Smi s crii e r s . 

COLEMAN (Edward). 

Edward Coleman^ a Birmingham artist, is remembered 
for th^ fidelity of his portraits. He also painted dead game 
and kindred subjects with success and ability. He was the 
son of a Birmingham artist of no great repute, and was 
bora in a house the site of which is now occupied by the 
Clartjndon Hotel (corner of Upper Temple Street). He 
di^ in a house in the Crescent about 1867. He exhibtted 
sdxt^n works alt<^ether at the Royal Academy between tbe 
y^x& iSij and 1848^ including '' Dead Game" in 1819 and 
ii$:K\ and a portrait in iSzz. 

ivitAD GAMS, 

Ou w<4ova9» 4 ft. loi iiK h^ by 6 ft. 2^ in. 



This wc^ky painted in 1829, consists of a dog, dead peacock, swan, fawn, 
hercHi, hares, and pheasants. It was purchased by subscriptioo and was 
presented to the Corporation as the first picture towards the fcmnation c^ 
a free Art Gallery in Birmingham. 

DEAD GAME. 

On canvas, i ft. gi in. high by 2 ft. 2) in. wide. 

Presented by Mr, Joseph Warden, 

DEAD GAME. 

On canvas, i ft. ii} in. high by 2 ft. 4^ in. wide. 

Presented by Mr, Joseph Warden, 

MASTER JOSEPH FUSSELL. 

On canvas, i ft. 4^ in. high by i ft 2 in. wide. Painted in 1826. 

Presented by Mr, Joseph Fussell, 

A portrait of the donor at the age of eight 

DAWSON (Henry). 

For Memoir of the artist, see page 54. 

THE WOODEN WALLS OF ENGLAND. 

On canvas, i ft. 7^ in. high by 2 ft. 5 in. wide. Painted in 1856. 

Bequeathed by Mr. W, Middlemore, 

IN^ORT. 

On canvas, i ft. 7^ in. high by 2 ft. 5 in. wide. Painted in 1856. 

Bequeathed by Mr, W, Middlemore, 

ELSHEIMER (Adam). 

Adam Elsheimer, a German painter, born at Frankfort 
about 1574. He was the son of a tailor and was placed at 
an early age under Philip Uffenbach. He was fond of 
landscape, with figures of such importance that the 
landscape interest is subordinated to that of the incident 
represented. He devoted so much time and patience to his 
pictures that they seldom repaid him. Many of his works 
were engraved ; indeed he is better known by these 
engravings than by his pictures. He died in 1620. 

207 



GOAT AND THISTLES. 

OaaunKM,4ft.8iin.bi(;kb]r3ft.5m. wide. 

Pnsenied by Mr. Edward EoeriU. 

FULLWOOD (John), R.B.A. 

ETCHING: THE GIPSY CAMP. 

14) in. \ij 244 in. 

PresenUd by tke Artist. 



ETCHING: THE SWALLOWS HAUNT. 

14I in. by 24I in. 



PtesenUd hy the Artist. 



FUSSELL (Joseph), Senr. 

ASTON HALL: THE GARDEN FRONT. 

Water-cdoar drawing, 7 in. high by 9^ in. wide. Painted in 1803. 

Presented by Mr, Joseph Fusull. 

GILL (W. W.). 

This artist at one time lived at Leamington. He 
exhibited nine works in London between the years 1854 
and 1867, at the British Institution, and at Suffolk Street. 
His first picture was sent from Ludlow. 

AN OLD GkAVEL PIT, NEAR KENILWORTH. 

On canvas, ii} fl. high by i ft. 9^ in. wide. 

Presented by Mr P. Carmouls, 

GREEN (Alfred H.). 

A Birmingham artist. Between 1844 and 1862 he 
exhibited one picture at the Royal Academy, three at the 
British Institution, and four at Suffolk Street. 

THE FIRST BIRMINGHAM ELECTION: CHAIRING THE 
MEMBER. 

On canvas, 2 ft. 5J in. high by 2 ft. o| in. wide. 

Presented by Mr, F, G. Pdnn, 



The first Birmingham Election was on December 12th, 1832, when 
Messrs. Thomas Attwood and Joshua Scholefield, Liberals, were elected 
without opposition. This took place directly after the passing of the Reform 
Bill. The part which Birmingham took in promoting and carrying that Act 
is a matter of history. 

GUNN (Archibald). 

Formerly head master of the Wolverhampton School of 
Art. Between 1849 and 1871 he exhibited three pictures at 
the Royal Academy, four at the British Institution, and six 
at Suffolk Street. 

PADDY PREPARING HIS AMMUNITION FOR DONNYBROOK 
FAIR. 

On canvas, 2 ft. 2^ in. hig'h by i ft. 7} in. wide. 

Presented by Mr, R. L. Chance, 

HAUGHTON (Moses). 

Moses Haughton was born at Wednesbury, Staffordshire, 
in 1734. He was in early life engaged in the decoration of 
japanned and papier-mach6 wares ; and worked for Mr. 
Clay, whose manufactory was in Newhall Street, Birming- 
ham, who held the appointment of japanner in ordinary to 
George III., and was one of the successful manufacturers 
of this town who filled the office of High Sheriff of Warwick- 
shire. Haughton eventually essayed art, and became 
celebrated for his examples of still life. He not only 
designed, but engraved pictures of Scriptural subjects, as 
plates to editions of the Bible, which were issued in 
Birmingham by Pearson and Rollason, and by Boden and 
Adams, in the later years of the eighteenth century. He died 
at Ashted, Birmingham, December 24th, 1804. A tablet is 
erected to his memory under the organ gallery in St. Philip's 
Church, Birmingham. He worked chiefly in water-colours. 
He exhibited thirteen enamels at the Royal Academy between 
1788 and 1804. He had a nephew of the same name, a 
well-known portrait painter, who was born at Wednesbury 
in 1772, and was an early friend of Fuseli, and a constant 
exhibitor at the Royal Academy until 1848. 

209 



FISH. 

On canvas, i ft. 81 in. hig^h by i ft. 7! in. wmIc 

Pmented by Mr. C. R. Cope. 

HERING (G. E.). 

George Edwards Hering, born in London, 1806, was son 
of a German bookbinder. He was placed in a banking 
house, but his love for art was too strong, and he went to 
Munich to study, afterwards working in Italy and the East. 
Later he made a tour through Hungary and Transylvania, 
in company with Mr. Paget, whose book he illustrated. He 
then settled in London, after an absence of seven years. 
From 1836 until his death, in 1880, he contributed every 
year to the Royal Academy Exhibitions. 

SUNSET IN THE GULF OF SALERNO. 

On canvas, a ft. ii4 in. hig^ by 6 ft wide. Painted in 1854. 

Presented by Mr, IV. Sharp. 

HURLSTONE (Frederick Yeates). 

Frederick Yeates Hurlstone, portrait and historical 
painter, was born in London, in 1800. He entered the 
Royal Academy Schools in 1820, and in 1823 obtained the 
gold medal for his ** Archangel Michael and Satan con- 
tending for the body of Moses. '^ He also studied under 
Beechey, Lawrence and Haydon. He occasionally exhibited 
in the Academy from 1821, and also at the British Institu- 
tion, but the majority of his works appeared at the Society 
of British Artists, of which he was elected a member in 
1 83 1, and held the office of President from 1835 until his 
death. The range of his subjects was much enlarged by 
visits to Italy in 1835, to Spain in 185 1-2, and to Morocco 
in 1854. Throughout his life he was much opposed to the 
Royal Academy, and at the Parliamentary Inquiry of 1835 
gave evidence against that body. He died in 1869. 

A YOUNG SAVOYARD. 

On canvas, 2 ft. 1 1^ in. high by 2 ft. 3 in. wide. 

Bequeathed by Mr, William Middlemore. 

2JO 



JOHNSON (Harry J.). 

For memoir of the artist, see page 185. 

THE ROCK OF GIBRALTAR: EVENING. 

On canvas, 2 ft. 4} in. high by 4 ft. 2] in. wide. 

Presented by Mr, R, L, Chance, 

JONES (George J.). 

George Jones, R.A., was born in London in 1786; his 
father, John Jones, was a mezzotint engraver. He early 
turned his attention to art, having become a student of the 
Royal Academy when a boy, but for a while his art studies 
were varied by the duties of a military career. He served 
as an officer of militia in the Peninsular war, and was in 
Paris in 18 15 during the occupation of the Allies. At the 
conclusion of peace Jones returned to his art, painting 
chiefly views of towns or battle pieces. In 1820 he received 
the premium of 200 guineas from the Directors of the 
British Institution for a picture of the battle of Waterloo ; 
and two years afterwards a similar premium for another 
picture of the same subject, exhibited at the Royal Academy 
in 1822. He was elected an Associate of the Academy in 
that year, and a member in 1824, and was a contributor to 
its exhibitions for more than sixty years, from 1803 to 1869 
inclusive. He was Keeper of the Royal Academy from 
1843 to 1850 ; and had previously held the office of Librarian. 
In 1849 he published a memoir of his friend Chantrey, the 
sculptor. He died in London on the 19th of September 
1869. 

GENEVA (from a sketch made in 1825). 

On canvas, 2 ft. 6 in. high by 2 ft. i in. wide. 

Presented by Mrs, Jones, 

PISAN WOMEN SUCCOURING THE WOUNDED FRENCH. 
Water-colour drawing-, i fl. t;^ in. high by i fV. 9} in. wide. 

Presented by Mrs, fonts, 
21T 



THE BATTLE OF HYDERABAD. 

On canvas, ii in. high by 21 in. wide. 

Presented by Mrs- Janes- 

THE CONFLICT AT THE GUNS, BALACLAVA. 
On canvas, 11 in. high by 21 in. wide. 

Presented by Mrs- Jones- 

THE DESTRUCTION OF JERUSALEM. 

Water-colour drawing*, i ft. 8 in. high by 2 fL 4} in. wide. 

Presented by Mrs- Jones- 

HEAVEN OPENED. 

Water-colour drawing, i ft. 4} in. high by i ft. 5} in. wide. 

Presented by Mrs- Jones- 

LE BRUN (Charles). 

Charles Le Brun, a French historical painter, was born 
in Paris, 1619. He received his first instruction in art from 
his father, who was a sculptor. He afterwards studied 
under Vouet, and in 1642 accompanied Poussin to Italy, 
where he remained four years. He then settled in Paris, 
and, thanks to the patronage of Louis XIV., became head 
of the French School, exercising unlimited sway in all 
matters relating to art in France. In 1648 he took the 
principal part in founding the Academy, and was the first 
director of the Gobelins Tapestry Manufactory on its 
foundation by Colbert. He died in Paris, February 12th, 
1690. 

HORTENSIA. 

On canvas, 6 ft. 6 in. high by 4 ft. 3 in. wide. 

Presented by Mr. B, Johnson, 

Hortensia was a Roman virgin who was given with others as a 
hostage to the Etrurians during one of the numerous wars between these 
two nations. While in their camp she discovered a plot to surprise the 
Romans, whereupon she possessed herself of a charger, evaded her guards, 
swam across the Tiber, and apprised her countrymen of their danger. In 
consequence of this timely warning they were victorious, and erected an 
eguestrian statue to commemorate her heroic conduct. 

212 



LINES (Samuel). 

For memoir of the artist, see page 97. 

DOLBADARN CASTLE. 

On canvas, 2 ft. ij in. high by 2 ft. ii^ in. wide. 

Presented by Dr. Hopkins, 

LOUTHERBOURG (P. J. de), R.A. (after). 

Phillipe Jacques de Loutherbourg was born at Strasburg, 
in 1740, He was the son and pupil of a miniature painter, 
who settled in Paris, where his son was placed under the 
tuition of Tischbein and Francesco Casanova, and became a 
very popular painter of battles, hunts, sea pieces, and land- 
scapes with figures and cattle. In 1768 he was made a 
member of the French Academy, and afterwards appointed 
Court painter by the King. In 1771 he quitted France and 
settled in London. He was employed to make the designs 
for the scenes and decorations of Drury Lane Theatre, and 
in that province of art he displayed extraordinary ability. 
In 1780 he was elected an Associate of the Royal Academy, 
and in 1781 became an Academician. He sent altogether 
155 works to the Royal Academy Exhibitions. He died at 
Hammersmith in 181 2. 

SUN PICTURE: HAMPSTEAD HEATH. 
Executed at Soho, by a process invented by Francis Eginton in 1778. 
2 ft. 9 in. hig-h by 4 ft wide. 

Presented by Mr. Joshua Williams. 

Francis Eginton was bom at Eckington, Worcestershire, in 1737; died 
in 1805, and was buried in Handsworth Churchyard. He began life as 
an enameller at Bilston, and was engaged at Soho by Matthew Boulton as 
japanner, modeller, and figure-caster. From 1777 to 1780 he invented and 
executed many " polygraphic " pictures, or mechanical copies of oil painting 
in colour — it is supposed by some stencilling process, but details are not 
known — and the production ceased in 1780, because it was not profitable. 
It was a method of colour-printing by aquatint transfers for each colour, 
afterwards revived and improved in the Baxter oil-pictures, and still later 
on lithographic stones in the modem oleographs. Laige numbers were sold, 
and some have even changed hands as oil paintings. In 1784 he lived 
at Prospect House, Soho Hill, as a glass-painter of windows in rectangular 

213 



panes, and not with leaded outlines. In 1 789 he executed a copy of West's 
** Conversion of St Paul/' for St. Paul's Church, Birmingham. In 1786 
he executed a window for St George's Chapel, Windsor; in 1791 one for 
St Paul's Cathedral; in 1793 one for Aston Church; in 1800 one for Great 
Barr; and others for Salisbury Cathedral, the Chapel of Magdalen College, 
Oxford, Arundel Castle, etc., etc. 

SUN PICTURE: HAMPSTEAD HEATH. 

Executed at Soho, by a process invented by Francis Eginton in 1778. 
2 ft 10 io. high by 4 ft. wide. 

Presented by Mr, Joshua Williams, 

SUN PICTURE: WINTER SCENE. 
Executed at Soho, by a process invented by Francis Eginton in 1778. 
2 ft. 9 in. high by 4 ft. wide. 

Presented by Mr. foshua Williams. 

MORIER (David). 

David Morier was born at Berne, in Switzerland, 1705, 
He came to England in 1743, soon after the battle of 
Dettingen, and was presented by Sir Edward Faulkener to 
the Duke of Cumberland, who settled on him a pension of 
;^200 a year. He distinguished himself as a painter of 
battles, horses, dogs, etc, and also of portraits, on which 
he was extensively employed. The first two Georges both 
sat to him. He died in the Fleet Prison in 1770, and was 
buried in St. James's, Clerkenwell, at the expense of the 
Incorporated Society of Artists, of which body he was a 
member. 

FOUR DESIGNS REPRESENTING "THE BUILDING OF THE 
TABERNACLE." 

On canvas, each 5 ft. ii{ in. high by 12 ft. 3) in. wide. 

Presented by Mr. E. D. Wilmot. 

These four large canvases represent the various stages in the Building of 
the Tabernacle. {Exodus^ chapters 24-33.) 

MORRIS (J. C). 

J. C. Morris, cattle painter, was a pupil of T, 
Sydney Cooper, R.A. He first exhibited at the Royal 
214 



Academy in 1851, sending a painting of sheep. He was 
then residing at Greenwich, He continued exhibiting in 
London until 1853, sending during that time nine pictures 
to the Academy, nineteen to the British Institution, sixteen 
to Suffolk Street, and four to other exhibitions. 

SHEEP. 

On canvas, 2 ft. iij in. high by $ ft. wide. Painted in 1859. 

Presented by Mr. E, Everitt. 

MUNNS (H. T.). 

For memoir of the artist, see page 187. 

SIR JOSIAH MASON. 

On canvas, 8 ft 6} in. high by 5 ft. 9} in. wide. 

Presented by the Subscribers. 

MURILLO (after). 

VIRGIN AND CHILD. 

On canvas, 5 ft. 3 J in. high by 3 ft. 6^ in. wide. 

Presented by Mr, A, Dtocon, 

PETTITT (Charles). 

Charles Pettitt, son of Joseph Paul Pettitt, was born in 
Birmingham in 1831. He began life as a mining engineer 
and geologist, spending some years in Spain. He later on 
drifted into landscape painting, and after spending many 
years in Norway, he settled in the Lake district. He died 
in Manchester in 1885, 

DUMBARTON ROCK: EVENING. 

On canvas, 2 ft. 2 in. high by 3 ft. 8} in. wide. 

Presented by Mr, James Neale, 

PETTITT (Joseph Paul). 

Joseph Paul Pettitt, landscape painter, was born in Bir- 
mingham in 18 1 2. He was a member of the Birmingham 



Society of Artists, and of the Society of British Artists, 
and a frequent exhibitor at the Royal Academy, British 
Institution, Suffolk Street, and various provincial exhibi- 
tions from 1845 to 1880. He began his artistic career with 
Messrs. Jennens and Bettridge, the well-known japanners, 
and remained with them until he married at the early age of 
seventeen, when he took to painting from nature. He was 
one of the pioneers, with David Cox, Miiller, Creswick, 
Bond, and others, in opening up the beautiful scenery of 
the Conway and Bettws-y-Coed districts, and his picture 
**The Fairy Glen,*' which has been engraved, gave the 
name to the now celebrated Glen on the Conway. At 
one time of his career he essayed large pictures of 
somewhat similar subjects to those painted by John Martin, 
such as ** Adam naming the Creation," **The Sixth Seal,'* 
** Nebuchadnezzar's Golden Image,'* and **The Deluge.'' 
He died at his house in Upper Mary Street, Balsall Heath, 
in 1882. 

THE RUINS OF AN OLD MILL, CUMBERLAND. 

On canvas, 2 ft. 3} in. high by 2 ft. 4} in. wide. 

Bequeathed by Dr, ScofieU. 

PRATT (Jonathan). 

For memoir of the artist, see page 189. 

MRS. JOSIAH MASON, afterwards LADY MASON. 

Presented by Miss JuUa Smith. 

RAPHAEL (after). 

VIRGIN AND CHILD. 

On canvas, 2 ft. 8 in. high by i ft. 9 in. wide. 

Presented by Mr, A, Dixon, 

REMBRANDT (after). 

PORTRAIT OF REMBRANDT (by himself). 

On canvas, 2 ft. o| in. high by i ft 8^ in. wide. 

Presented by Mr, A, Dixon, 

2J6 



RENI (Guido) (after). 

CLEOPATRA. 

On canvas, 4 ft. high by 3 ft. i| in. wide. 

Presented by Mr, A, Dixon. 

This is copied from the picture in the Pitti Palace, Florence. Other paint- 
ings of " Cleopatra " by Guido are at Madrid and St. Petersburg. 

THE MARTYRDOM OF ST. SEBASTIAN. 

On canvas, 3 ft. 9 in. high by 2 ft. 11 in. wide. 

Presented hy Dr. Bell Fletcher. 



RIBERA (Josef) (attributed to). 

Josef Ribera, commonly called Lo Spagnoletto (the 
little Spaniard), was born in Spain, at Jatlva, near Valencia, 
January 12th, 1588. He was destined by his parents, says 
Cean Bermudez, for the pursuit of letters, but his passion 
for the arts induced him to prefer the school of Francisco 
Ribalta to the University. He went, when still a youth, to 
Italy, and in spite of extreme poverty prosecuted his studies 
as a painter with untiring energy, though sometimes 
depending entirely for support on the precarious charity of 
his fellow-students in Rome. He was at first engrossed by 
the works of Raphael and Annibale Carracci, but eventually 
adopted the forcible and attractive style of Michelangelo da 
Caravaggio. He studied also the works of Correggio at 
Parma ; but on his return to Rome, finding that he could 
not agree with his old companions, Ribera determined to 
try his fortunes in Naples, where he married the daughter 
of a rich picture dealer, and from this time entered upon a 
more important professional career, being employed, through 
the interest of his patron, the then Spanish Viceroy, the 
Count de Monterey, on many commissions for Philip IV. 
of Spain. He died 1656. 

THE MARTYRDOM OF ST. ANDREW. 

On canvas, 4 ft. high by 3 ft. 3 in. wide. 

Presented by Mr. E. Everitt. 
217 



\ 



RICHARDSON (Jonathan) (attributed to). 

Jonathan Richardson was born 1665. He was articled 
against his will to a scrivener, his mother's second husband, 
but the death of the latter enabled him, in the sixth year of 
his apprenticeship, to indulge an inclination he had long 
felt for painting. He became a pupil of John Riley, and 
married his niece. He established himself as a portrait 
painter, and on the death of Kneller and Dahl, he ranked 
with Jervas at the head of the profession. He was also 
distinguished as a writer, publishing works on the theory 
of painting, etc., and with the aid of his son, who made the 
journey and took the notes, ** An Account of some of the 
Statues, Bas-reliefs, Drawings, and Pictures in Italy." 
He died suddenly at Queen's Square, Bloomsbury, 1745. 

SIR CHARLES HOLTE, THIRD BARONET. 

On canvas, 2 ft. 5^ in. high by 2 ft. wide. 

Presented by Mr, Charles Holte BraceMdge, 

Sir Charles Holte, third baronet, bom 1641, married 1680, Anne, daughter 
of Sir John Clobery, Kt., of Bradstone and Winchester ; succeeded his father, 
Sir Robert, in 1679. He was several times appointed Deputy Lord-Lieu- 
tenant of Warwickshire. Died 1722. 

RODEN (W. T.). 

For memoir of the artist, see page 127. 

DR. LLOYD. 

On canvas, 4 ft. i) in. high by 3 ft. of in. wide. 

Presented by Mrs, ZJayd, 
SIR JOHN RATCLIFF. 

On canvas, 8 ft. 8} in. high by 5 fl. lof in. wide. 

Presented by Colonel PatcHff, 

Sir John Ratcliff was bom in Birmingham in 1798. Up to middle age 
he was closely occupied by the engagements of a laborious business life; 
but having acquired a considerable fortune, he retired from active business, 
and, entering the Town Council, began to take part in municipal affairs. 
After having held the office of Low Bailiff, he was retimied to the Council 
for St. Peter's Ward in 185 1. In 1853 he was appointed an Alderman, and 
in 1856 was elected Mayor, holding that oflSce for three years in succession. 
During his Mayoralty he received as his guest the Duke of Cambridge, 

2j8 



who came to open Calthorpe Park in 1857, and when, in the fc^owing 
year, Queen VictOTia and the Prince Consort came to Binningham to open 
Aaton Paik he received the honour of knighthood. At the time of his death, 
in 1864, he was chairman of the General Puiposes Conmiittee. He was 
a magistrate and chairman of the Visiting Justices. In politics he was a 
Conservative, and throughout his life a prominent member of the Wesleyan 
body, and was also active as a Freemason. 

ROOM (Henry). 

For memoir of the artist, see page 139. 

JOSEPH GOODYEAR, THE ENGRAVER. 

On canvas, 2 ft. 44 in. high by 2 ft. o^ in. wade. 

Presented by Mr. Edward Goodyear, 

Joseph Goodyear was born in Birmingham in 1797, and for many years 
was engaged here as an engraver on plate. He was encouraged to go to 
London, where he found employment, and placed himself under Charles 
Heath fcH* three years, and was soon competent to work upon book plates. 
Continuing to improve by the zealous practice of his art, his last and best 
work was " Greek Fugitives," for Finden's " Gallery of British Art" His 
health failed over this work, and after a lingering illness he died in Camden 
Town, October ist, 1839, aged 41, and was buried in Highgate Cemeteiy. 

SUCH (F.). 

WINTER SCENE. 

On canvas, i ft. iij in. hig-h by 2 ft. 1 1} in. wide. 

Bequeathed by Mr, James Botham. 

THOMPSON (Ernest). 

Ernest Thompson, born in Birmingham about 1853, was 
the second son of Mr. H, B. S. Thompson, formerly a well- 
known resident here, who later on moved to Newcastle-on- 
Tyne. He was a young artist of much promise as a figure 
and portrait painter, and a frequent exhibitor at the Bir- 
mingham Royal Society of Artists. For some years he 
was a master in the School of Art, where he was greatly 
esteemed, but his career was cut short through typhoid 
fever, contracted during a sketching tour in Jersey, from 
which he died at the Crescent, Edgbaston, on September 
20th, 1879, aged about twenty-six. 

219 



GEORGE DAWSON AXD mS FRIEXDSu 

0& cumrMv 6| in. htfihyf 1 ft. mi in. vride. 

UNDERHILL (Frederick Charles). 

This artist exhibited one hundred pictures in London 
between 1851 and 1875, including^ nineteen at the Royal 
Academy. 

THE DINNER HOUR. 

On caoras, 2 ft. 1 1 in, hi^ bf 3 ft. 7I in. wide. 

Presemied by Mr. Joshua WiOiawu. 

UNDERHILL (WiUiam). 

This artist exhibited eighty-five pictures in London 
between 1848 and 1870, including thirteen at the Royal 
Academy. 

THE POACHER. 

On canvas, 2 ft. 5) in. hi^ by 2 ft. wide. 
Permanent Loan from the Council of the Midland Institute 

UNKNOWN ARTISTS. 

PORTRAIT OF H.R.H. THE DUKE OF CAMBRIDGE. 
On canvas, 8 ft. 8) in. high by 5 ft. 9J in. wide. 

Presented by Mr W. /. Scott, 
(FulMenfj^h portrait by an unknown artist). 
Adolphuf Frederick of Brunswick — Lunenburg, Duke of Cambridge, was 
the seventh surviving son of George III. and Queen Charlotte, and was 
bom February 24th, 1774. Served with the Hanoverian army in Flanders; 
made a peer, 1801. In 1803 he was transferred to the British service, made 
Field-Marshal, 18 13, and was appointed Governor-General of Hanover, and 
held the post until 1837. He married Princess Wilhelmina Louisa of Hesse 
Cassel. He died at Cambridge House, Piccadilly, July 8th, 1850. 

JOHN FREETH. (i 731-1808.) 

On canvas, 2 ft. 5itn. high by 2 ft. o^ in. wide. 
John Freeth was bom in Birmingham, and scarcely left the town all his 
life. He was probably unique as an example of a publican-poet, for he 

220 



kept nominally a coffee-house, but really an old-fashioned sort of club-inn 
where the men of Birmingham met constantly to talk over the news of the 
day. He was a bright and genial man, fairly well read, and remarkable for 
ready wit and rough humour. His house was a Whig Club before Liberals 
or Radicals were known. He wrote songs and catches on the topics of 
the day, written in a free-and-easy style. His regular visitors were known 
as the "Jacobin Club." Freeth began to write and sing about 1750, and 
kept it up for more than thirty years. His first " poems " were printed by 
Baskerville in 1771, and in his later years he published others. His songs, 
though full of satire and political feeling, were always in good taste. He 
was honoured by all who knew him. 

THOMAS WRIGHT HILL. 

On canvas, 2 ft. 54 in. high by 2 ft. 1 in. wide. 
Presented by the Birmingham Unitarian Brotherly Benefit Society. 

For memoir of Thomas Wright Hill, see page 188. 

JOHN FREETH. 

On canvas, 2 ft. 5^ in. high by 2 ft. i in. wide. 
For note on Freeth, see above. 

BEN JONSON. 

On canvas, 2 ft. i} in. high by i ft. 8^ in. wide. 

Bequeathed by Mr, W. R, Lloyd. 

Benjamin Jonson, the dramatist, was bom June nth, 1574, and was 
educated at Westminster School. He for a time worked as a mason, and 
then went to Cambridge University. For a short time he was imprisoned 
for killing a man in a duel. His play, " Every Man in his Humour," was first 
performed in 1598. In 1603 he was imprisoned for writing " Eastward-Hoe." 
Other works of his are " Sejanus," *'Volpone," "The Alchymist," and 
" Bartholomew Fair." He was made poet laureate in 1619. Died August 6th, 
1637. 

GEORGE EDMONDS. 

On canvas, 2 ft. 5} in. high by 2 ft. oj in. wide. 

Presented by Mr. Joseph Fordred, 

A prominent member of the Birmingham Political Union. 

THE REV. DR. CROFT. 

On canvas, 2 ft. 44 in. high by 2 ft. wide. 

George Croft (i 747-1809), divine, was bom in Yorkshire, and went to 

Oxford, 1762. In 1768 he became master of Beverley Grammar School. 

Later he was head master of Brewood School, Staffordshire. He came to 

Birmingham, 1791, to accept the lectureship of St. Martin's, to which was 

221 



added the chapiaincy of St Bartholomeirs. In 1786 he deinrcied the Bamp- 
ton Lectures. He died in Binning^uun in 1809, aged 62, and was boxied 
in the north aisle of St. Martin's Chnrch, where there is a moomnent to 
his meniofy. 

LADV, WITH AN ORIENTAL FAN. 

On panel, 3 ft. i} in. hig:h bjr 2 ft. 7^ in. wide. 

PresaUed by Mr. Charles HdU Bracdfridgt- 

FRANCIS, LORD BRERETON. 

On canvas, 2 fL 5I in. hig^h bj 2 ft. o| in. wide. 

FrcsenUd by Mr. CkarUs HoUe Bracibridge- 

He was an ancestor of the fifth and last Lord Breretoo, who died without 
issue in 1722, when the noble Elizabethan mansicm and large estate of the 
Breretons became the inheritance of Sir Clobeiy Holte. He was the grand- 
srm of Jane, daughter of the second Lord Brereton, who married about 1646 
Sir Robert Holte, who succeeded his grandfather. Sir Thomas, the founder 
of Aston Hall. 

THE LADY OF RALPH, LORD BRERETON. 

On canvas, 2 ft. 4 in. high by i ft. 104 in. wide. 

Presented by Mr- Charles Holte Bracebridge- 

SIR LISTER AND SIR CHARLES HOLTE AS BOYS. 
On canvas, 4 ft. 5} in. high by 4 ft. 114 in. wide. 
Sons of Sir Clobery Holte, fourth baronet. Sir Lister, fifth baronet, bom 

1720, was three times married, first in 1789, to Anne^ daughter of the Earl 
of Dartmouth ; secondly in 1 742, to Mary, daughter of Sir John Haipur, of 
Calke ; and thirdly in 1755, to Sarah, daughter of Samuel Newton, of King's 
Hromley. He died on April 8th, 1770, and was succeeded by his brother, 
Sir Charles Holte, sixth and last baronet, who was bom on November 24th, 

1 721, and married the daughter of Pudsey Jesson, of Langley. His pcxtrait, 
by Gainsborough, and Lady Holte, by Romney, are in the Corporation Art 
Gallery. (See pages 66 and 130.) Sir Charles died in 1782, and his wife in 
1799. Sir Lister and his brother were, as boys and young men, devotedly 
attached to each other. They were at school together when young, and 
afterwards studied at Magdalen College, Oxford, and for years were scarcely 
ever separated. 

SIR THOMAS HOLTE, FIRST BARONET. 

On panel, 3 ft. 5{ in. high by 2 ft. 11 in. wide. 

Presented by Mr- Charles Holte Bracebridge- 

Thomas Holte was bom 157 1. He served as High Sheriff oi Warwick- 
shire, and was a member of the deputation sent to welcome King James on 
his accession to the English throne in 1603. In 1612 he was created a 



Baronet hj King James, who in 1611 instituted this title, during the sup* 
pression d the re^llicxi in Ulster. He began the erection of Aston Hall 
in i6i8y but it was not entirely completed until 1635. Sir Thomas Holte 
was famous for his loyalty to the Stuarts, and in 1642 he had the honour 
of entertaining Charles L (Fch- a more detailed account of his life, see the 
" Illustrated Handbook to Aston Hall.") 

LADY HOLTE. 

On panel, 2 ft. lo} in. hig^h by 2 ft. 2^ in. wide. 

Presented by Mr, Benjamin HiU. 

Wife of Sir Thomas Holte, first Baronet 
PORTRAIT OF A JUSTICE. 

On canvas, 2 ft. 5^ in. high by 2 ft. o^ in. wide. 

Presented by Councillor Wadhawu 

WALTON (Elijah). 

For memoir of the artist, see page 154. 

MONTE CrVITA, ITALY. 

On canvas, 5 ft. 9} in. hig^h by 8 ft. 11 in. wid^. 

Presented by the Artist 

This view of the mountain is taken from the Lago d'Alleghe. Painted in 
1867. 

MONTE MARMOROLO, ITALY. 

On canvas, 5 ft. 9} in. high by 8 ft 11 in. wide. 

Presented by the Artis', 

This view of the mountain is taken from the Val d'Auronzo. Painted in 
1867. 

WEIGALL (Henry), Jun. 

Henry Weigall, jun., son of Henry Weigall, sculptor {see 
page 162), was born in 1829. He became well known as a 
portrait painter. In 185 1 the Duke of Wellington sat to 
him, and the present Queen, when Princess of Wales, was 
painted by him in 1862, just after her arrival in England. 
Between the years 1846 and 1893 he exhibited 171 pictures 
in London, of which 147 were in the Royal Academy. He 

223 



was married in Westminster Abbey to Lady Rose Fane, 
daughter of John, eleventh Earl of Westmoreland. He 
resides at Ramsgate, is a D.L. and J. P., and still occa- 
sionally paints a portrait. 

THE HON. CHARLES B. ADDERLEY, M.P., NOW LORD 

NORTON. 
On canvas, 7 ft. 3 in. high by 4 ft. 2^ in. wide. 

Presented by the Town Council of Birmingham. 

Full-length portrait, painted in 1865, to commemorate the Hon. C. B. 
Adderley's munificent gift of Adderley Park and Museum to the town of 
Birmingham. 

WYATT (Henry). 

For memoir of the artist, see page 19 2. 

NAUGHTY PET. 

On canvaSf i ft. 2 in. high by 1 1 in. wide. 

Presented by Mr. R. W. Thrupp. 

A small collection of Etchings, presented by Mr. T. F. 
Derrington, is also exhibited, including : 

A MONK PRAYING, Etching : by Victor Desclaux, after the picture by 
Francisco Zurbarany in the National Gallery. 

FRAME, containing nine etchings : after pictures by Alfred Stevens, Diaz, 
Frere, Foriin, Poirson, and Tai^e. 

FRAME, containing six etchings: after pictures by TaieCy Leo-Drouyn, 
Daubigny, Veyrassat, Luminais, and Hedouin. 

FRAME, containing nine etchings: after pictures by Jacque, Fragonard, 
BercherCy Grenaud, and Lalanne. 

FRAME, containing nine etchings: after pictures by Hirsh, Daubigny, 
Berirand, Lamy, and Lehnert, 

There are also a few engraved portraits of Dr. Johnson, Sir Francis 
Burdett, Samuel Parr, John Hunter, Edmond Hector, and James Watt, and 
six engravings after David Wilkie, R.A., entitled " The Rent Day," " Dis- 
training for Rent," "The Blind Fiddler," "Village Politicians," "The 
School," and "Blind Man's Buff," rll bequeathed by the late Mr. Lloyd 
Webb. 

224 



LIST OF DONORS OF PICTURES 
AND SCULPTURE. 

Page 

Aitken, Mrs. W. C i, 90, 164, 172 

Anonymous u, 24, 25, 134 

Avery, Alderman Thomas 163 

Avery, Mr. W. B 188 

Baker, Mr. S. H 179 

Barber, Miss Jane E., the Nieces and Nephews of 8 

Beale, Mrs. Lansdowne 169 

Beattie, Mr. Joseph (bequest) ... ... ... ...loi, 155, 199 

Birmingham Liberal Association (permanent loan) 80 

Birmingham and Midland Institute (permanent loan) •••9, 52, 

55» 72. 73. 75. 89» »«>» '28, 156, 180, 186, 204, 220 

Birmingham Society of Arts ... ... 60, 117, 118, 119, 192 

Birmingham Town Council 168, 223 

Birmingham Unitarian Brotherly Benefit Society 221 

Botham, Mr. James (bequest) ... 219 

Bracebridge, Mr. Charles Holte 66, 130, 218, 222 

Buckley, Mr. Henry 52 

Bunce, the Misses 145 

Cadbury, Mr. William A. 115 

Cartwright, Mr. C 180, 181, 197 

Chamberlain, Mrs. John Henry ... 127 

Chamberlain, the Rt. Hon. Joseph, M.P no, iii 

Chamberlain, Mr. Richard loi, 107 

Chance, Mr. J. H. 79 

Chance, Mr. R. L 38. 68.209,211 

Cope, Mr. C. R 210 

225 



Page 

Coppock, Mr. J 198 

Cormouls, Mr. P 208 

Cox Memorial Committee 170 

Davis, Mr. Michael 92 

Derrington, Mr. T. F 224 

Dixon, Mr. A 215, 216, 217 

Dixon, Mr. Arthur S 24 

Dixon, Mr. George, M.P. 79 

Edmondson, Mr. R. H. .. iii, 112, 113 

Edwards, Mr. Allen 76 

Elkington and Co., Messrs 159, 163, 165, 166, 168 

Elkington, Mr. Alfred J 93 

Elkington, Mr. Frederick 56, 181 

Estates Committee ... 161 

Everitt, Mr. A. E. (bequest) ... 144 

Everitt, Mr. Edward ...208, 215, 217 

Everitt, Mr. G. A. 169 

Everitt, Mr. W. E 75, 195 

Feeney, Mr. John 22, 25, 203 

Feeney, Mr. J. F., the Trustee of 186 

Fletcher, Dr. Bell 217 

Flinn, Mr. F. G 208 

Fordred, Mr. Joseph ... 221 

Full wood, Mr. John, R.B.A 208 

Fussell, Mr. Joseph 207, 208 

Gibson, Mr. W., the Children of 162 

Gilbert, Sir John, R.A. ... 68, 69, 70, 182, 183, 184, 218, 222 

Goodyear, Mr. Edward 219 

Griffiths, Dr. E. T., the Executors of Z^^^Z 

Hadley, Mr. Felix 84 

Harding, Mr. Charles 10 

Hill, Mr. Benjamin 223 

Hill, Mr. Frederick (bequest) igg 

226 



Page 
Holder, Sir John C, Bart. ... 7, 16,22, 67, 95, 100, loi, 182 

HoUiday, Mr. James R 22, 26, 56, 107 

Holte, Mr. A. Brandish 185 

Hopkins, Dr. 213 

Hutton, Miss ... ... ... ... ... ... ... 205 

Jaffray, Sir John, Bart 61 

James, Mrs. Christopher 62 

Jennings, Mr. H. J 53 

Johnson, Mr. B 212 

Johnson, Mr. G. J. 52 

Johnstone, Mr. G. H 114 

Jones, Mrs. George 211, 212 

Kenrick, Mr. Timothy 42 

Kenrick, Mr. Timothy, the Daughters of 79 

Kenrick, the Rt. Hon. William, P.C. 22, 66, 103, 114, 120, 147 



Lines, Mr. F. T 


... 


97, 98, 186 


Lines, Miss 


... 


... 96 


Lloyd, Mrs. 


... 


... 3l8 


Lloyd, Mr. W. R 


... 


231 


Luckock, Mrs 




... 108 


Mackenzie, Mr. R. J. R 





... 161 


Marigold, Mrs. James 


... 


... 198 


Maxwell, Mrs 




... 198 


Middlemore, Mr. John T., M.P 


... 


20, 31, 22, 87 


Middlemore, Mr. William (bequest) 


... 196, 


205, 207, 210 


Moore, Mr. Joseph (bequest) 


... 


... 129 


Murdoch, Mr. W 


... 


74 


Murray, Mr. C. Fairfax 


... 26 to 37, 105, 109 


Myers, Mr. George 





121 


Neale, Mr. James 


••• 


... 315 


Nettlefold, Mr. Edward ... 


... 


104 


Nettlefold, Mr. Joseph H. (bequest) 




45 to 5a 

327 









p<v 


. 




- 


t8t 


. 




.. 


79 






.- 


54 


9'. 


93. 


146. 


»47 


39. 
f 


55. 


181, 


184 
160 



Osborne, Mr E C 

Padmore, Mr. J 

Pearson, Mr J. H 

Peyton, Mr. Richard 

Phillips, Mr. J. Palmer 

Phipson, Miss Elizabeth, the Representatives of 

Pictorial Records of Ancient Works of Art, Society for the 

Preservation of 4, 131 to 138 

Public Picture Gallery Fund, the Trustees of, 14, 40, 55, 58, 64, 84 

94. 99. »o7» "I. 113. «23, 126, 127, 150, 154, 156 

Purchases (Art Gallery Purchase Fund)... 5, 6, 7, 10, 14, 18, 23, 24, 

4». 55. 5^. 63. 71. 76, 82,83, 84, 85, 93, 96, 103, 107, 120, 
121, 122, 140, 141, 142, 149, 152, 170, 171, 197 

Ratcliff, Colonel 116,218 

Redgrave, Mrs. Richard 199 

Richmond, Sir W. B., K.C.B 125 

Room, Mr. H. H 139 

Rudd, Mr. Charles, Executors of 142 

Scofleld, Dr. (bequest), 200, 216 

Scott, Mr. W 151 

Scott, Mr. W. J 220 

Severn, Mrs. Arthur ... 143 

Sharp, Mr. W 210 

Smith. Miss Julia ... 216 

Smyth. Mr. Martin.., 52 

Sturge, Mrs. 204 

Subscribers (Various bodies of) 117, 128, 161, 167, 176, 184, 189, 

190, 191, 192, 206, 215, 220 



Talbot, Mrs, 

Taa^e, Sir Richard and Mr. George 

Thrupp, Mr, R. W 

Tofiks, Mr. Edmund (t>equest) ..• 
Turton, Mrs, (t>equest) 



3 

105 

224 

80 

«95 





/^ 


Wadham, Coundllor 


"3 


Wainwright, Mr. W. J 


»5» 


Wake, Mr. FL K. 


17* 


Wallis, Mr. George, the Children of 


i66 


Walton, Mr. EUjah 


154. "3 


Wand, Mr. John 


1S5 


Warden, Mr. Joseph 


-. 207 


Webb, Mr. Uoyd 


224 


Wigfgin, Sir Henry, Bart. 


14 


Williams, Mr. Joshua 


... 213, 214 220 


Wilmot, Mr. E. D. (bequest) 


... 164, 87, 214 



tag 



INDEX TO THE NAMES 

OF 

PAINTERS AND SCULPTORS. 





PAGE 


Aitken, W. C. 


I 


Alcock, Edward 


... 203 


Allesandri, Angelo ... 


2 


Allingham, Mrs. 


5 


Anderson, Mrs. S. ... 


•• »95 


Appiani, Andrea 


... 203 


Appleton, T. G. 


6 


Aumonier, J. 


6 



Baker, Alfred 179 

Baker, S. H 179 

Baker, T. (of Leamington). . . 7 

Barber, Joseph 7 

Barber, J, V. ... 8, 180, 204 

Barrett, Jerry 204 

Beverly, W. R 180 

Blackiston, D. Y 205 

Blaikley, Alexander ... 205 

Bond, J. Daniel 206 

Bonington, R. P 9 

Bouguereau, W. A. ... 10 

Breakespeare, W. A. ... 11 

Brett, John, A.R. A. ... 11 

Briggs, H. P., R.A 12 

Brown, Ford Madox ... 13 

Bunce, Miss Kate E. ... 16 
230 



PAGE 

Burnejones, Sir Edward, Bart. 

16 to 37 
Burt, C. T. ... 38, 181, 195 

Calvert, Edward 39 

Cardwell, H. 169 

Coleman, Edward 206 

Collier, Thomas, R.I. ... 41 

Collins, J. Edgell 181 

Collins, William, R.A. ... 41 

Cox, David 43 to 52 

Cox, David, jun 53 

Creswick, Thomas, R.A. ... 53 

Danby, J. F. 196 

Dawson, Henry .-54, 181, 207 

DeWint, Peter 55 

Docharty, James, A.R.S.A. 56 

Dor^, Gustave 182 

Duncan, Edward 56 

Dyce, William, R.A. ... 57 

East, Alfred, A.R.A. 58 

Elsheimer, Adam 207 

Etty, William, R.A. ... 59 

Everitt, Allen E. . ... 196 



PAGE 

Feeney, P. M 60 

Fielding, Copley 61 

Foley, J. H., R.A. ...165, 168, 176 

Forbes, Stanhope A., A.R A. 62 

Ford, E. Onslow, R.A. ... 161 

Foster, Birket, R W.S. ... 63 

FuUwood, John, R.B.A. ... 208 

Fussell, John, sen. ... ... 208 

Gainsborough,, Thomas, R.A. 65 

Geets, Willem 66 

GeofFroy, Jean 67 

Gilbert, Sir John, R.A., 67, 182 
Gill, W. W. ... ... 208 

Glover, John 70 

Goodwin, Albert, R.W.S. .. 71 
Gordon, Sir John Watson, R.A. 71 
Graham-Gilbert, John, R.S. A. 73 

Green, A. H. 208 

Gunn, Archibald ... ... 209 

Hall, William 74 

Harding, J. D 75 

Harris, Henry 75 

Haughton, Moses 209 

Hemy, C. Napier, A. R.A. ... 76 
Henshall, J. Henry, R.W.S. 197 
Henshaw, F. H. ...77, 184, 198 

Hering, G. E. 210 

Holl, Frank, R.A. ... 79, 184 

Hollins, Peter 161, 163, 168, 170 

Holte, A. B 185 

Hook, J. C, R.A 81 

Haghes, Arthur 82 

Hulme, F. W. ... 185, 198 
Hunt, Alfred W., R.W.S. ... 83 
Hunt, William H 84 



PAGE 

Hunt, W. Holman, H.R.W.S. 

85 to 89 

Hurlstone, F. Y 210 

Hutchinson, H 89 

Jackson, Frank G 89 

Johnson, Harry J. ... 185, 211 
Jones, George, R.A. ... 211 

Jones, John E. 164 

Joy, Albert Bruce, R.H.A. ... 167 



Koerner, Ernst 


.. 90 


Langley, Walter, R.I. 


.. 92 


Leader, B. W., R.A. 


• 93 


Le Brun, Charles ... 


213 


Leighton, Lord, P.R.A. 


.. 94 


Lewis, J. F., R.A. ... 


• 95 



Lines, H. H 96, 186 

Lines, Samuel 97, 186, 198, 213 

Lines, S. R 98 

Linnell, John 98 

Logsdail, William ... ... 99 

Loutherbourg, P. J. de, R.A. 

(after) 213 

Mackenzie, F. ... ... 100 

MacWhirter, J., R.A. ... 100 

Marks, H. Stacy, R.A. loi, 199 
Millais, Sir J E , Bart . P.R.A. 

101 to 104 
Monti, Raphael ... ... 163 

Moore, Albert 105 

Moore, Henry, R.A. ... ig6 

Morier, David 214 

Morland, George 107 

Morris, J. C. 214 

Morris, William 108 

Miiller, William J. ... 109 to 113 

231 



PAGE 

Munns, H. T. ... 187, 215 

Munro, Alexander ... 164, 171 

Murilio (after) 215 

Murray, C. Fairfax ... 113 

Newman, H. R. ... ... 113 

Noble, J. S 114 

North, J. W., A.R.A. ... 114 

Olsson, Julius ... ... 115 

O'Neil, H. N., A.R.A. ... 115 

Opie, John, R.A. ... ... 116 

Ouless, W. W., R.A. .. 117 

Papworth, E. G 169 

Patten, George, A.R.A. ... 117 

Pearson, Mrs. Charles ... 188 

Pettitt, Charles 215 

Pettitt, E. A 118 

Pettitt, J. P 215 

Phillips, Thomas, R.A. ... 118 

Pratt, Jonathan ... 189, 216 

Prout, Samuel 119 

Pyne, J. B 120 

Raphael (after) 216 

Redgrave, Richard, R.A. ... 199 

Reid, Miss Flora M. ... 121 

Rembrandt (after) 216 

Reni, Guido (after) 217 

Reynolds, Sir Joshua, P.R.A. 121 

Ribera (attributed to) ... 217 

Richardson, Jonathan (attri- 
buted to) 218 

Richmond, Sir W. B.,K.C.B., 

R-A 123 

Riviere^ Briton, R.A. ... 125 

Robson, G. F. 126 



Roden, W. T. 
232 



...127, 191, 218 



PAGB 

Romney, George 130 

Rooke, T. M., R.W.S. 130 to 138 
Room, Henry ... 139, 219 

Rossetti, Dante G. ... 139 to 142 

Rudd, Charles 142 

Ruskin, John 142 

Seghers, Daniel 143 

Shannon, J. J., A.R.A. 191 

Solomon, Simeon 144 

Stanier, Henry 199 

Such, F. 219 

Syer, John, R.I 145 

Tayler. A. Chevallier ... 146 

Taylor, Edward R 147 

Tesson, L 200 

Thomas, John 159 

Thomas, John Evan ... 1 60 

Thompson, Ernest ... ... 219 

Toft, Albert 166, 171 

Turner, J. M. W., R A. 147 to 150 

Underbill, F. C 220 

Underbill, William 220 

Unknown Artisti, 151, 220 to 223 

Verrocchio, Andrea del ... 170 

Wainwright, W. J., A.R.W.S. 151 
Walker, Frederick, A.R.A.... 152 
Walton, Elijah ... 154, 223 

Walton, Frank, R.I. ... 155 

Watts, G. F., R.A 155 

Weigall, Henry 162 

Weigall, Henry, jun. ... 223 

Westall, William, A.R.A. ... 156 
Woolner, Thomas, R.A. ... 175 
Wyatt, Henry ... 192, 224 



John Glew & Co. 

Limited, 

Removal and Storage 
Contractors. 



Head Offices : 

6 J Si 68, Great Hampton Street, 
BIRMINGHAM. 



The best system of Storing — Largest and Best Ware- 
houses in the Provinces. 



INSPECTION INVITED. 

Telegrams : Telephone 

** Removals, Birmingham.'* No. 1542. 



Benton & Stone, 




Birmingham. 



BY ROYAL Warrant 



Established 1752, 




Tetegraphk Address 
"ASCENDtNCY, 

BIRMINGHAM,' 



TO H.M. THE KING, 



Jhe Craves Gallery, 

44 Cherry Strwt, 



Paintings, \ Birmingham 

Water-Colour 
Drawings, 
Engravings, 
Etchings, ^ 
Reproductions 

from all the 



Old and 
Modern 
Masters. 



Wedding 
Presents, 



Picture 
Restoration, 

Special Attention being 
paid to this Branch. 

Re-gilding, etc. 

Collections visited, 

attended to & re-hung. 

usive Designs 

for Framing 



the Largest Selection 

in Town 

to choose from. 

A Visit to the Gallery is inWtcd. 



Black 
and White. 




PERMANENT PHOTOGRAPHS 

EDWARD BtJR'^ -^ '"'NF.S, Ban.; G. F. WATTS, R.A-1 
DANT£GABRIt(. R FI , HARRY BATES, A.R.A.,HaaKr 

MMio(hc»» A SekcMn from HAGUE GALLERY, bf F. HoBya; Jan.. 
ALBERT MOORE and Mbct AniMs can he oteMol ftoB 



FREDK. HOLLYER, 

9 Pembroke Square, 
^V.^P^.Villi^''' Kensington. 

THE STUDIOS ARE OPEN TO VISITORS DAILY 
from 10 a.m. to 6 p.m., and on Mondays from lo a.m. to to p.m. 
PORTRAITS FROM LIFE are taken on Mondays only. 
An Appointment is advisable. 

For thrcc-qtiarters of a Century , 

fv« have been eng A^ed in nipplying the ^H 

Printing and Stationery ^fl 

gUpiffenti of a IsLrgt number of firms m Birmmghaun and elsewhere. ' 

Tlmcll old-esUblished, we are not old-fashioned. We ha^e 
to ' day a thoroughly up - to date plant, and that our efforts 
to turn out first • class work promptly for our customers 

Have given satisfaction 

is amply attested by the extensions we have found necessary 
to make in order to cope with a growing business. If 

you are in wsnt of anything in Printings Stationery and 
Bookbinding, nng up Telephone Nos. 516 and 2219. when 
we shall be pleased to quote prices or answer any enquiry, 

Hudson & Son, 

Edtntind Street and Medova BuildingSp 
Livery Street, Birmingham ; and 
55 & 56 Chancery Lane, London, W.C* 



Charles E. Luton, 

Dealer in Works of Art 

llltllllllllllllllllllllllllllltltllllMtttltltltMlllllltlKtMMIlMCMMMIUMIIIIIIMIttlHMMMMIMMMtMIIIMM 

ANO-H*- 

Picture Frame Maker + 



A CHOICE COLLECTION OF 

PICTURES 

Including WORKS by 

W* ;• WAINWRIGHT, 
W* LANGLEY, 
F* H. HENSHAW, 
T.SYDNEY COOPER^ 
FL DAWSON, 
C. E. JOHNSON, 
C. r. BURT, 
and others* 



ALL THE SEASONS 
PUBLICATIONS IN 



ENGRAVING, 
ETCHING AND 
MEZZOTINT, 



IN PROOF AND 
OTHER STATE* 



flew patterne and Deeigns in frames. 



THE LARGEST SELECTION OF AUTOTYPE REPRODUCTIONS 

IN BIRiyHNGHAM. 

Jin HutOtype, a msucany UmtA, complete Tor OkC dliUSWi. 

RE-GILDING, CLEANING and RESTORING. 

ENGRAVINGS BLEACHED. 



WORKS OF ART PACKED AND INSURED. 

ESTABLISHED 53 YEARS. 

214 BROAD STREET. 



The Latest and Best 

Moulding Hook 

The Safest Hook on the Market. 

It Cannot Cut the Cord, 

And is practically Unbreakable, Strong, 
Durable, Reliable, and Cheap, 

SUPERSEDES ANY HOOK AT PRESENT 
ON THE MARKET, 
Patentee, Sole Maker— 

G. R. MeWIS, SQUARE, Birmingham 

To be had from all Ironmongers, Art Dealers, t^c. 

Mewis's Patent Picture Cords, 

with Prepared Copper Wire Centre, so well known and appreciated. 





I. A. LLOYD, x^ 

HAS SOME Ktte £Cl-f VIenlet-. 

FINE EXAMPLES OF * ' * ' •■^*"*g ^^TTJ, JLTgRlgX-f 

B. W. LEADER, R.A^ JOHN SYER. RJ^ 

J. F. HERRING, Sen,, and other Eminent Artists. 

ALSO A COLLECTION OF 

Old Worcester & Oriental China. 

STEPHENSON CHAMBERS, 39a NEW STREET, 

(Opposite Midland Hotel.) . . . BIRMINGHAM. 

ESTABLISHED 1792. 

S. THORNLEY, LTD. 

VARNISH STAIN. 

For imparting a rich colour and brilliant gloss to floors, staircases, etc., in 
imitation of polished old oak, walnut, etc., in tins i/6, 3/-, 5/8, and 10/-, 

and bottles 6d. and i/-. 

POLISHING AND PLATING MATERIALS. 

OIL IMPORTERS, DRYSALTERS, VARNISH AND 
LACQUER MAKERS. 

WHOLESALE DEPOT FOR CAMEL HAIR BRUSHES. 

Offices: SNOW HILL. Works: SLANEY ST. 

Branches: DERITEND, GOSTA GREEN, 

GOOCH STREET & JOHN BRIGHT STREET. 



THE 



Birmingham Coffee House 
Company, Limited. 



THE COBDEN HOTEL, 
CORPORAIION STREET. 

(tMrma m Cttrry StrtU. ) 

120 Bedrooms, Commercial, Coifee, 
Smoking and Billiard Rooms. 

Panengcr Kojit. 



THE 

HEN & CHICKENS 

HOTEL, 

NEW STREET, 

Adj(»ming the High Scho^h. 

Handsomely furnished & replete 
with every modern comfort. 





TARIFF : 

Bed and Attendance^ from 2/6, 

Breakfast or Tea, from l/-, 

DINNERS: 

Soup, Fishj Joints, Sweets, Cheese, 2/- 

Or a la Carte. 



TARIFF: 

Bed and Attendance, from 3/-. 

Refreshments as at the Cobden 

Hotel, 

Lighted throughout t»y Electricity, 

Electric Elevator. 



Central Houses : 

THE COBDEN, THE HEN & CHICKENS CAFE, 
HIGH STREET COFFEE HOUSE, Corner of Carrs 
Lane, BULL STREET CAFE, THE PRIORY CAFE, 
STEPHENSON STREET COFFEE HOUSE, Oppo- 
site New Street Station, THE ATLAS, Paradise Street. 



\ 



Birmingham Dairy Co. Ld., 

Dalton St. (Corporation St.), Birmingham. 

Creamery — Audlem, Cheshire. 

NEW MILK from country farms. 

GUARANTEED PURE. 
Delivered Twice Daily, and 

OTHER DAIRY PRODUCE. 

STERILIZED MILK. 

" MEDICAL BRAND/' 

Recommended by the Medical Profession for INFANTS and 
INVALIDS and General Use. 

This milk is bottled and sterilized by the BIRMINGHAM DAIRY 
Co., Ltd., and is guaranteed new, pure, and with all its cream. The milk 
supply of the Birmingham Dairy Co., Ltd., is from farms selected and 
inspected by this Company, and the Central Dairy, Dalton Street, where 
the sterilizing plant is open to inspection, is fitted with all modern appliances 
to ensure cleanliness. 

ADVANTAGES. 

I. — 7{isl( of Disease avoided. 2. — The Milk is easily digested. 

3. — Contamination vpith Dusty etc.y before and after delivery d)>oided. 

4. — The d\dil\ mil l^ep several ysfeeks if the stopper of the bottle is 

not interfered mth. 

"MEDICAL BRAND" of Sterilized Milk 
has been frequently tested by Dr. A. Bostock Hill, who reports 
as under : — 

COUNTY ANALYST'S LABORATORY, 

Unity BuildingSy Temple Street^ Birmingham. 
A. Bostock Hilly M.D.y D.P.H.y Camb.y F./.C., Public Analyst to the County 

of fVarwicky etc. 

Dear Sir, — I beg to report that I took a bottle of your ** Sterilized Milk" 
from stock, and found it in all respects satisfactory, and quite free from 
micro-organisms associated with disease. 

Yours fkithfully, A. BOSTOCK HILL. 

DELIVERY TO ALL PARTS OF THE CITY & SUBURBS DAILY.